My Projects
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Ero un teenager che si dilettava a pasticciare con matite e colori ascoltando rock'n'roll, quando casualmente si appoggiò sul piatto della mia fonovaligia un nero vinile con la copertina che parodiava il mitico "Sgt. Pepper's" dei Beatles. Fu così che conobbi quello strano musicista con baffi e pizzetto, certo Frank Zappa. Ne rimasi gradevolmente sconvolto e decisi che quella musica sarebbe diventata la colonna sonora della mia pittura.Parecchi anni più tardi mi resi conto che non si trattava solo di un piacevole soundtrack, ma c'erano alcune affinità fra l'operare del compositore americano ed il mio modo di lavorare e di essere creativo:quella sorta di fermezza concettuale che, pur lasciando la libertà di giocare, spaziando nella più estrema e sfrenata sperimentazione, rende coerenti e riconoscibili anche le più disparate esperienze, il Conceptual Continuity;il produrre arte che risponda esclusivamente alle proprie esigenze creative senza scendere a compromessi per renderla bene di consumo, il No Commercial Potential;e non ultimo quello strano connubio di rigore, professionalità e totale libertà espressiva l’ Absolutely Free.Concetti che ho, successivamente, ritrovato anche nella Mail Art, una realtà complessa ed articolata, fatta di individualismo e coinvolgimenti planetari; fra intimi scambi estetico/personali e mobilitazioni su grandi temi etici e di denuncia sociale.Il tutto con un unico comune denominatore : la gratuità del dare e l’assoluta libertà nel creare.Ed è attingendo ad alcuni di questi principi fondamentali del fare arte dello Zio Frank che prenderanno spunto i progetti che mi propongo di lanciare da questa nuova Realtà
I was a teenager enjoying myself in bungling with pencils and colours while listening to rock’n’roll, when a black vinyl record with a cover parodizing the mythical “Sgt. Pepper” Beatles’ album accidentally held on the turntable of my portable record player. This is how I made the acquaintance of that weird musician with moustaches and goatee, a certain Frank Zappa. I was pleasantly upset and I decided that Zappa’s music would become the soundtrack of my paintings. A lot of years later I noticed that it wasn’t only a pleasant soundtrack, but that there were some affinities between mine working method and that of the american composer: that sort of conceptual steadfastness that, though letting freedom to play or to range over extreme and unbridled experimentation, makes coherent and identifiable also the most disparate experiences: Conceptual Continuity; the production of an art that fits exclusively one’s own creative needs without stooping to compromises to make it a consumer good: No Commercial Potential; and, last but non least, that strange mixture of thoroughness, professionality and total expressive freedom: Absolutely Free. Later I found the same concepts in the Mail Art, a complex and articulate reality, made up of individualism and whole world’s involvements, of intimate aesthetical/personal exchanges and mobilizations for great ethical and social problems. All these ideas go together with a common denominator: the gratuitousness of giving and the absolute freedom of creating. The projects that I’m going to launch from this new Reality will take their cue from some of these basic principles firstly applied by Uncle Frank.
I was a teenager enjoying myself in bungling with pencils and colours while listening to rock’n’roll, when a black vinyl record with a cover parodizing the mythical “Sgt. Pepper” Beatles’ album accidentally held on the turntable of my portable record player. This is how I made the acquaintance of that weird musician with moustaches and goatee, a certain Frank Zappa. I was pleasantly upset and I decided that Zappa’s music would become the soundtrack of my paintings. A lot of years later I noticed that it wasn’t only a pleasant soundtrack, but that there were some affinities between mine working method and that of the american composer: that sort of conceptual steadfastness that, though letting freedom to play or to range over extreme and unbridled experimentation, makes coherent and identifiable also the most disparate experiences: Conceptual Continuity; the production of an art that fits exclusively one’s own creative needs without stooping to compromises to make it a consumer good: No Commercial Potential; and, last but non least, that strange mixture of thoroughness, professionality and total expressive freedom: Absolutely Free. Later I found the same concepts in the Mail Art, a complex and articulate reality, made up of individualism and whole world’s involvements, of intimate aesthetical/personal exchanges and mobilizations for great ethical and social problems. All these ideas go together with a common denominator: the gratuitousness of giving and the absolute freedom of creating. The projects that I’m going to launch from this new Reality will take their cue from some of these basic principles firstly applied by Uncle Frank.
