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When Galleria SIX asked me to produce two works for its space and directly in the gallery, in a new city and country, and in a shorter time than would normally be necessary, I had two opposite reactions.  The first was Yes, it will be a great challenge .  The possibility of taking a break from my routine of study and uninterrupted work, through a project lasting just under a month in Milan, in the spring and with a final purpose, I perceived it as an interesting and shameless incentive at the same time.

 

My second reaction was the more realistic one.  What happens if I don't find enough places that can stimulate my attention, if the paintings don't go according to plan, if my paintings don't like them and if I don't like them.  It would be worth playing ...  My process of collecting images is inextricably linked to Guy Debord's Situationist concept of drift theory.

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"In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this than one may think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones." (Debord 1958)

The resulting work aims to explore people and their empirical differences both geographically and morphologically.  The photographic and formal aspects of the work result to be the celebration and negation of colour in equal measure, being it a way to reach the image but at the same time also a limit.

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Quando  Galleria SIX mi ha chiesto di produrre due lavori per il suo spazio e direttamente in galleria , in una nuova città e paese, ed in un tempo più breve di quello che sarebbe normalmente necessario , ho avuto due reazioni opposte. La prima è stata Sì, sarà una grande sfida . La possibilità di prendere una pausa dalla mia routine di studio e di lavoro ininterrotto, tramite un progetto della durata di poco meno di un mese a Milano, in primavera e con uno scopo finale, l'ho percepito come un incentivo interessante e spudorato nel contempo.

La mia seconda reazione è stata quella più realistica . Cosa succede se non trovo abbastanza luoghi che possano stimolare la mia attenzione, se ​​i dipinti non vanno secondo i piani, se i mie dipinti non piacciono e se non piaccio io,. Sarebbe valsa la pena giocare ... Il mio processo di raccolta delle immagini è legato indissolubilmente al concetto situazionista di Guy Debord sulla teoria della deriva.

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"In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this than one may think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed

points and vortexes that strongly discourage entry into or exit from certain zones." (Debord 1958)

 

Il lavoro risultante mira ad esplorare le genti e le loro differenze empiriche sia geografiche che morfologiche . Gli aspetti fotografici e formali del lavoro risultano essere la celebrazione e la negazione del colore in ugual misura , essendo esso una via per giungere all'immagine ma nel contempo anche un limite.

 

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