“a process is said to be aleatoric […] if its course is determined in general but depends on chance in detail” (Werner Meyer-Eppler)
There is something in the disappearance of an image that brightens the view and reveals a deeper meaning than the labyrinth of details.
Delete, blur, subtract. They are often gestures escaping from rational control, opening a window to freedom of life. But if the artist creates directly in strong uncertaint conditions, like an equilibrist balanced on the wire, then the results can be especially surprising and enlightening.
Now the artist has the task of interpreting the present, in order to imagine the future in advance. This is the role that our society wants for him.
But we live in present era, where people are dominated by images and information, often planned to manipulate them. The artist's work, as it deals with images and their power, should start from the understanding of this phenomenon: the increasing flow of images, which looks more and more like a flood, leaves disaster at its wake. Too much violence, high-definition images, high speed videos, are pervasive and conditioning the addiction of overload stimuli. This phenomenon forces people to not understand their true perceptions and feelings, increasing the level of "cognitive dissonance".
I research a kind of art to overcome this logic. I study the archetypal images, the surrealist's automatic drawing, the physiological phenomenon of pareidolia looking in ink-spots. But it's necessary to remain rooted in the drama of reality, at the same time. Developing this approach with the same seriousness of a ritual, it will be possible to overcome any artificial influence and reconsider our knowledge, our good masters.
I leave the voluntary gesture in favor of the spontaneous watercolor's absorption by the paper. Focusing my attention at breaking point of figuration, watching what happens....