“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 an age where people are dominated by images and informations. 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 high-definition, high speed videos, are essential to overcome the addiction caused by the overload of stimuli in our mediatic reality. This 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 I want to remain at the same time rooted in formal reality. Developing this approach with the same seriousness of a ritual, it will be possible to overcome any cultural influence and reconsider our knowledge.
I leave the voluntary gesture in favor of the spontaneous color's absorption by the paper. Focusing my attention at breaking point of figuration, watching what happens....