In Statu Nascendi, intro.
Becoming is the hidden key of every thing that appears as stable.
In Statu Nascendi exudes, do not describe. A written compendium of past elements, will be read by someone tomorrow and so, for these two reasons, an attempt to describe my self as constantly as instantaneous.
In this series of writings i will release in the nexts weeks, I’ll attempt to follow up with my paintings and sculpting processes with the writing one.
Becoming is the hidden key to everything that appears stable so I observe these parameters during my studio sessions.
I consider each layer of the composition as a whole work, each work as a whole dimension; each dimension, a whole series of frames; mental image associated with other mnemonic frames.
Each series of work is a vector for a mnemonic block of my existence, which can be defined through the trasliteration of stream of images, biologically reliable as a link to someone else’s experiences, in a continuum of interoperativity. In Statu Nascendi do not refers to specific meanings or elements within my works, but to those forces and impulses that trigger me to create them since the very beginning of my art practice; unlimited space for the unconscious.
Any creative process generates gestural, compositional and cognitive pseudo-rules necessary to identify the existence of an object, that can only be observed if placed in relation to other existing ones.
This is the importance of tolerance and diversification between cultures.
It is necessary to understand one’s psychic nature, as each layer communicates with the others, even though the medium is different, in fact, each of us can perceive real intentions of others without the need for words, but in a game of superpositions of feelings, gestures and mental images.
The same process occurs with the development of languages. Each single letter of the alphabet, does not carries any logical sense, as unit, but only if joined together in order to create words, sentences, texts and feelings.
What therefore matters is the communication between each letter.
Intention, during my creative processes, is comparable to the birth of letters’ connection; starting from an archetypal graphic sign, It changes gradually, assuming forms and shapes of those intermediate links.
Truth is that there is no compromise between who one is and what one desires to be; desire shapes one’s being and truth is ‘desiresless’, already shaped by Nature. What leads me to create something that communicates, is the most common thing for everyone.
An abyssal necessity as a stone that descends to the bottom of this abyss and must be shaped In Statu Nascendi, in such a way as it enlights each condition within which this existence arises.
Ancient Egyptian hieroglyphic language hides similar sintactic schemes as those between natural and syntactic primordial depiction sincresis, ideal elements and abstract objects of reality; an example of symbolic sublimation, an element I used multiple times in my processes, is expressed with the Sema-tauy (or sma-taui, or sema knot); an ancient Egyptian symbol composed of the intertwining of two plants (lotus and papyrus flowers).
Since each hieroglyph carries both complete signs and intellectual concepts developments, we can observe the evolutionary prism by looking at how an image breaks down as light as it passes through the diamond, because nature manifests a basic concept of isolation of compositional elements according to which each psychic dimension cannot be defined only with hystorical approaches without necessary interconnections of meanings within the same approach.
Find the link of a painting that I decided to included as the intro of ‘In Statu Nascendi’. A small format work in mixedmedia on wood, breath of life
‘Atma Victu’
Credits: Writing, traslation and artworks by Alberto Ballocca.
