As written in the text of the original Arboreal wire , I worked on the line, as a sign, drawing, sculpture and thought. The line is not drawing, as it may seem at first, but the definition of contour space. The line marks the boundary between significante and meaning, marks what the view does not always show, marks what is beyond the marked area. The line draws the territory that surrounds it. Thus the overlaping of different lines creates the mass marking the space you see if there was no line.

In Greek philosophy:

The Greek meteorology seeks rather to describe the more uncertain movements of the air, in an attempt to explain the rarefaction of the bodies and the big difference between solid bodies, the material and what delicately approaches the blowing of the wind to the inexistent.

They seek with the imagination what is hidden in the world's naturalness, that is, how the presence of the latter is both characteristic and fleeting at the same time.

We know that for some pre-Socratics the soul corresponds necessarily to the experience of a body whose matter is so ethereal that its explanation can only be compared to the air.

The breath is the last thing to leave the body.

For the Greeks, there was clearly a close relationship between the air, the void and the infinite, either because the soul was regarded as a particle so ethereal that it evaporated at death, or simply because the air until the horizon represented seeing as far as the eye could see.

These things are best understood if we think of art as still occupying the edges and that its utterances, because they lean towards the eccentric, supply clues to what is hidden.

The Occidental culture considers the world as a whole of objects, instead Chinese thought considers the world as a emanation of a vital breath, of an energy (qi) that develops on different plains of condensation, more or less visible : the rock is (qi) concentrated, the cloud is a (qi) rarefied.


An artist whose soul is the mass of the sculpture

1 The Knowledge passes through the knowledge sensitive.
A first aspect on which the knowledge is knowledge sensitive
The space is normally seen as full, but in the empty space that we perceive the sensitive space.

2 The space is virtually empty, endless and grows in size.
Then Universes are created that hold the space.
I have worked to let us hear the space as empty and the eye sees through as a succession of dots and lines that float in the air, our sensitive part individualizes and projects them in the air as projective space.
So our eye is like a point in space and everything that it intersects or lines is becoming something that adds to the others creating lines sensitive.

3 ° The sculpture becomes an opportunity to draw the air or the empty space.
The line marks the boundary between the different meanings, marking what the view does not always see,
marks what is beyond the marked area.
The line becomes mass and it draws the territory of which it is surrounded.
Thus the overlap of different lines creates the mass that marks the space that you see if the drawing of the line was there.
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Urbino College of Industrial Arts, Academic year I obtained mydiploma with final marks of 110/110 in editorial and illustrative art under the guidance of Prof. Alfred Hoheneger. I took part in the course “Monotype on offset press” held by Sarah Amos, Professor at Vermont Studio Centre and at Dartmouth College. I attended the course “Contemporary Graphic Arts” held by John Ford, teacher at ISLA (International School of Loose Affiliations) Canada. I followed the course “Monotype: History and Methods“ held by Michael Mazur, University Professor at Harvard University, Cambridge, MA … Read More