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My way to see and to operate the art has to do with the aesthetics, Scientia Cognitionis Sensitivae, an emotional approach to the knowledge through the involvement of the senses, contrarily to the intellectual logical approach of the rational thought.
The emotion surely comes from the comparison with beauty, as a visual recognition of a series of canonical standards, and it’s even more intense and seductive when the comparison with the art image produces a sort of internal dizziness, a personal and mysterious involvement able to suspend our adhesion to the "principle of reality."
The more direct is the perception of the artwork the more effective is the game of fascination and evocation: the abstraction process between what is represented and what is perceived as reality must be small.
In this way, the representation loses the theatrical and artificial feature and it gets absolute and autonomous forms, redeeming itself from the banality of the objects thanks to its autonomous identity of artistic manufactured work, transposition of the human mind.
The artwork becomes archetype, native and ideal model of the sensitive things.

From these thoughts my choice is born to work on self-supporting subjects, which just want to represent what they are. In this sense the sculpture, and specifically the statuary one, is the expressive form that gives a physical presence to the idea.
The fetish, central subject of my job, doesn't want to represent but to be the concrete result of the voluntary aggregation of one or more materials, with the purpose to give form to all the emotional associations it makes me feel.
The doll-idol, the fabric or inflatable animal, converted in the materials of the sculpture or transposed in the metaphysical space of the drawing, come to the mind as affective containers of a native childish primitive state, in which the warmth of the emotional regress cohabits with the primordial mystery of the stately representation.
The practice of the art is assimilated to its most archaic form of magic religion, through the symbolic projection of a recreational and totemic imaginary world, in which simplicity and purity are transposed, formally in the synthetic plastic presence, emotionally in the sublimation of the toy, and go with the deep, unconscious and uneasy charge that characterizes the human mind.

Luca Lanzi