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
I briefly describe the meaning I attribute to the term ‘diachronic’, while associating It with my creative processes.
As Anselm Kiefer also mentions 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.
In Statu Nascendi, is a term that derives from chemistry so I imagine 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 I intermediate links between my paintings, sculptures and works on paper.
My research, linked to diachronic perceptions, allows this method of cataloging through time factors to exudes references of an indefinite series of psychic conditions I experience since I was a kid; the way in which these conditions manifest themselves cyclically in my existence.
A chronometer determines passing of instants, one after the other.
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 the ancient appears and present becomes eternal. As the Photosynthesis process remains enigmatic, so this perception’s nature does.
Looking for a diachronic element.
I am convinced that, ‘diachronic’ presents its best meanings, especially when it indicates the existance of a reliable dimensions observable without scientific or technical instruments usage; precisely, because tools themselves 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 occur in time, not within instruments, therefore, these events 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.
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.
