30 find safety in Switzerland. I made 12 panels in which I tried to interpret the story through the eyes of a child who can, however, grasp the lyrical aspects. Even in the terrible stories there is a thread of optimism, a poetic look that I want to keep to always try to find a positive solution even in pain. In your most recent works, human figures lose their physical consistency, becoming increasingly ethereal. How do they fit into the large landscapes that you always conceive as a projection of your inner landscapes? The landscape becomes the main atmosphere of feeling, but it is also my representation of the world. Particularly “the planet I come from”, that place where I feel at ease. As in a dream I had years ago, it is also the place/non –place that I imagine is where we come from and where we will go, where there is not just one plane or one dimension but infinite others. The presence of the human figure always relates to the context, but not in an egocentric or aggressive way. In my opinion, it is part of the whole, in respect and harmony with the world that surrounds it and of which it is a part. The cloud, an element that appears for the first time in this new project, is also particularly significant. The cloud, like water, has no consistency, but fills the sky. The objective presence of the clouds is mediated by the literary quotation of the haiku, which I approached on the occasion of another recent project, Amabie. The magical prophecy of the Yokai. I was fascinated by the capacity for synthesis of these literary compositions from Japan: a few words with extraordinary poetic intensity. In particular, I found “enlightening” the haiku by an unknown author (mistakenly attribuited to Issa or Basho), which also gives the title to this exhibition: Prendiamo il sentiero paludoso per arrivare alle nuvole (We take the marshy path to get to the clouds). Life can be difficult, but it is worth going through it to reach the "lightness" represented by the clouds. In these words, I not only find a perfect metaphor for life, but also for my own artistic journey. Talking about the "instinctive" use of paint, I spontaneously make a connection with the paintings of Samagra (Anna Maria Colucci, 1938 –2015), whom we both had the gift of knowing... I want to clarify that her method is more reminiscent of dripping, whereas I have a different methodology. You met her when she chose the Sanyasi name of Ma Prem Samagra and did a Zen painting in which the colour on the canvas was created as a meditative form, whereas my memories refer to when, as a teenager, I used to go to her
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