In Statu Nascendi, part. 1
Diachronic approaches on ancient cultures and natural patterns
“Se nel corso della sua genesi, l’arte attinge dalla vita alcuni elementi le cui tracce restano visibili nell’opera compiuta, la differenza con la vita costituisce la sua stessa essenza.”
‘l’Arte sopravviverà alle sue rovine’ Anselm Kiefer, 2024
In this first part of ‘In Statu Nascendi’, I briefly describe the meaning I attribute to the term ‘diachronic’, when I associate It with my studio processes. As Anselm Kiefer’s quote in this article headline, Art differs from life, and this difference in itself, is Art.
Art is the mirror of the impersonal stratum of human Psyche, the ‘Petra Genetrix’ of my inner self.
In Statu Nascendi is a term that derives from chemistry, so I imagined it in relation to my work as seen as a whole, observed from a generic, let’s say stylistic, point of view and not in relation to one or more specific works of my production. Diachronic, on the other hand, indicates my research tendency, the way in which I vary my processes and intermediate links between paintings, sculptures, works on paper, videos.
Being critical on my perceptions, allow this diachronism method of cataloging through time factors to exudes references of an indefinite series of psychic conditions I experience since I was a kid with the way in which these conditions manifest themselves cyclically in their relations and interoperativities, similar to what connects vegetables, Sun and vital energy.
We can image as the process of ‘Photosynthesis’ has the diachronic nature between vegetables, Sun and Vital energy.
A chronometer determines passing of seconds, one after the other instant.
Two dancers move, within the chronometer passage of time, synchronously. An event in the studio moves away from my present life, so the perception of my ancient self appears and present becomes eternal. As the Photosynthesis process remains enigmatic, so this perception’s Nature does.
Process is looking for a diachronic element.
Scientific tools become mediums to deduce an expertise too, so they do not allow a maieutic criticism of a certain type such as that of philosophy or the observation of internal streams of images does.
Tools, as matter, contain answers. Reality already arranged everything.
Technical instruments themselves become an integral part of time, because events and research occur in time, not within instruments, therefore, events and research themselves, occur beyond the detection of technical instruments.
It’s unmistakable.
Art is the only dimension that allows us to observe reality without scientific aid, because one’s ego becomes the scientific instrument and so the psyche looks inside to understand the outside or viceversa. This is my experience with art in relation to this term and life’s correlations.
For these reasons, back in 2022, I decided to define my work as ‘diachronic on ancient cultures and natural patterns’ and I remember that I decided to write it while listening to a philosophical reflection by Massimo Cacciari on the ancient antithesis physis/nomos. Ideas came through that fracture.
Fueled by the cyclical nature of my artistic evolution and faith, I hope that “In Statu Nascendi”, as an intellectually honest exploration, will give birth of each new element and self-perception as celebrated alongside a deep reverence also for my ancestral roots. While my project acknowledges the transformative power of innovation and renewal alongside natural observation and perceptions, it does not shy away from the complexities and struggles inherent in my studio processes, becoming an integral part, entitlement of them schemes because there are no shortcuts in my journey; the project remains steadfastly anchored in both intellectual rigor and emotional resonance, offering a window into my subjective factors.
Credits: Fragment ‘L’Arte sopravviverà alle sue rovine’ by Anselm Kiefer. Texts, translations and pictures by Alberto Ballocca. In Statu Nascendi, 2024.
