DIALOGUES 1 (Dialogues Collection)

So the Works were first born with the term “interrelations” but then were more properly defined as “DIALOGUES”.
And the first work was born almost out of necessity, reliving the moments of my son's first drawings at the age of two and a half, when I put colors in his hands to let him experience the first OWN signs with his own actions. Almost like reliving myself, reminiscing about my passion.
I reproduced the lines of his very first drawing, following the traces of which I continued to connect with them and to let my phantom certainties (straight lines/illusions!) grow along these connections, elements of vegetation, the natural origin of life on earth. Then the filling of the air and space with a dense dotting, almost a veil, with the innumerable particles of oxygen that allows us to breathe.

I pondered the image for a long time when I felt the desire to somehow connect my son's drawings with my painting. But it had to be a particularly meaningful drawing! So I took out the folder where I keep all the drawings he made from about two and a half years old for a whole year. Among the many drawings, I decided to choose the very first drawing he had ever made!
I wanted to see the origins of these actions, so I placed the colors—the crayons—and a piece of white card next to him. It was actually a red and blue pencil, the kind teachers used to use to grade their students' homework, and I showed him that by placing the point on the paper, a mark or several marks would emerge as the pencil moved. He immediately understood, and he began to draw lines and curves with the gestures typical of that age. Magically, he continued with energy, here and there, and I could see his surprise as he drew and stopped, amazed at what he was creating. A unique spectacle that you only see once in a lifetime!

With this memory, I relived that sensation, and now I wanted to see what it produced, this time retracing it as if I were empathizing with the process of tracing those blue and red lines on the canvas, copying them. I must say frankly that it wasn't easy at all to try to retrace those gestures with the same spontaneity. In fact, it was impossible: as if to say that it required enormous attention and reflection in the hesitant and careful manual skill. The cardboard was a 20x20 cm square, and therefore, since the canvas was 70x100 cm horizontally, enlarging it required great care, precisely to the detriment of the speed/spontaneity of the reproduction. I photographed the stages to document this second rebirth; I'll be able to have my say through him!
The story now becomes complex, because the painting's gestation was not linear, but full of expectations, reflections, observations until, at times, the appropriate solutions were found, coherent but instinctive, spontaneous and graphically valid and motivated.
The genesis of a painting is never simplistic. But it has the complexity of the "simplicity" of the solution.

It is clear that I enlarged the drawing proportionally until I obtained the traces in the central part of the canvas, leaving wider spaces on the sides of the group of lines, I would say the TANGLE of lines!

And these lines had a beginning and an end: this was a structural thing, and so this had to inspire me to add my own continuation! The work, however, began in a linear key, and I had to work on this language.
Needless to say, proceeding meant observing, observing and internalizing the perceptions numerous times and each time feeling the forms that could arise, a sort of “feeling of the forms”.
The solution was to connect straight extensions of a thickness of approximately 1 cm to the ends of the signs, which in reality corresponded to widths of approximately 1 cm.
This was the first phase.
Then I had to figure out how to give meaning to these stripes. I already imagined that the space could remain white and I could work on the thin lines, perhaps doubling them to emphasize them, and on the thick stripes.
To give substance to the latter, I conceived of them as generators of growth: what else than vegetation, the quintessential symbol of growth? So, along the edges of the strips, I drew efflorescences in various colors.
A dynamic and luminous canvas was born, with a white background that welcomed the design dominated by lines and curves.
This was the first phase, which I thought was definitive, letting it settle, as I generally do.
Looking at it I liked it, it was airy, but I “felt” that it could go on.

And so, after much observation, I decided to fill the background with a color that would give depth: I picked up the ultramarine and cobalt blue again, seeing which and how they might be mixed together would provide the solution. But the whole thing remained lacking something I couldn't define. The blue was interesting, but a feeling of emptiness, of lack, remained.
A long time passed. Then suddenly, an insight occurred: a sort of dotted veil filling! This mass of dots could represent anything, even the tiny particles of air we don't see but breathe. And so it went, the space was filled with this "entity," and with much patient work, the result was fully achieved. The work was finally finished!

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