Memories "is a collection of production in tuff Piero Ragone started in 2005.
The works in the round of small and medium format, a dialogue with a series of bas-reliefs mounted on wood. The contrast between the clear yellow limestone of the Murgia and the black panels makes it even more obvious sculptural work, attentive to the shape, volume, but also to areas .
The abrasive action of grinding or enhance their texture and veins of the matter, investigated for a re-signification of value not only aesthetic.
Tuff, inert poor commonly used in construction, as well as the constituent material of the most famous Sassi of Matera, is elected through a communications footprint archaic, but contemporary design, revealing a completely new expressive possibilities.
"Memories" is also a path connecting the sediments with the anxieties of our time, found the manual with the activity of thought, reading by experimenting with a language that tends to simplify, but takes care of the complexity relational conflict arising from diversity issues affirmation of identity.
Reference
these sculptures were, not infrequently, readings, poems, publications mentioned or hinted at by simple synthetic or "quotes".
It 's the case of "We make the bread ... .. had the taste of grain" Mario Trufelli of "I am as a ball on smooth surface" Nicol Ragone (from the collection of poems "Twenty years are few"), of "Fascination" or "Source of oblivion" inspired by the story of Mimmo Sammartino "Vito danced with witches."
A further example are the motifs from the novel by Anna Teresa Laurita "Born with wings" that led to "Jeremiah" to "In-awareness" and the same "Born with Wings" (October 30 submitted, together with the book, the National Library of Power).
A mention should also "implicit memory" resulted from a conceptual change focused on a discussion with my friend, psychiatrist William Champion on the theories and theories of the scientist Wilfred Ruprecht Bion forms of consciousness of the fetal stage, preceding the birth.
Also on the read-write or better on the existential questions that are addressed, some projects are based panels whose holder has raised the topical content.
Examples are "The principle of the exemption," "Hiatus" and "Psyche and techne" eponymous volume of contemporary philosopher Umberto Galimberti or "The Witches of seven stones, even the fairy tale written by Sammartino (panel donated to the fledgling museum of the small size of Genzano di Lucania).
Connections and sculpted bodies, to try the feelings and psychology, fields such as endless intellectual par excellence. And here
back the need for communication with the difficulty of understanding, the flaws of interpretation, the filters, the instrumental use of words.
a dynamic that goes an intense commitment in production regional information office of the RAI for Basilicata in non-verbal language the result of investigation, stimuli, thoughts and impulses of nature above all very personal. A feeling that shows
questions in an attempt to reach deeper levels of knowledge and awareness, with reduction of complexity to the essential or procedures specific to other approaches (Zen simplification, the monotone of the tuff clear opposition to the darkness of the black).
Signs and substance, outside and inside, surface and interior, light and volume in space show that the thinness of the line, its purity, its curves gathered in shape. The sediment
, history, past the current round, live again in the action of recovery and reconsideration.
The search for harmony seems to indicate the consolidation of this as a premise for future opportunities not denied or impaired.
An order of things, of nature and humanity, where the capital of energy that keeps every identity is not asking to be shared in a balanced relationship with the other who does not want and can not disregard the right to ' love.
Sculpting - play with the material - carve, meet the material - inspect - groped to establish a relationship - find clues.
dialogue starts from a retail a "hinge point" around which will rotate that block will be saved and will remain "in contact" at that point and all other references dimensional, formal, volume, light exposure, as well as attention. My intrigue is to solve the structure of the consistency between tracks and body sculpting. In the approach pursued so far, the alternating zones polished, smoothed, rounded, almost molded with ribbed bands, sharp, rough, winding or dug from "action temporally important," maximize the finding of a contrast, intact and lived in secret and revealed, the mystery and the complaint of pain and tender intense. A dichotomy that could go beyond viewing. An assertion of a difference, perhaps irreconcilable, but present, latent, often painful. Signs of conflicts, contradictions, misunderstandings, and yet difficult coexistence rooted, widespread, silent. Dual nature that contradict each other, face each other, fighting for a head it almost never becomes final supremacy. Or maybe a legitimacy that the dialectic may find its logic, its composition, its explanation, or only a semblance of plausibility. What hurts the pain, anguish, fear ... ... How much pleasure, enjoyment, self-satisfaction ... .. How far is the harmony, the right balance. If that meeting by removing, chipping, consuming accept it, satisfies me, I believe in it, is approaching the idea of \u200b\u200bstarting or its variations during construction (derived, I believe, from my feeling, from my being, from I know from my proto-verbal? experience-knowledge is not necessarily conscious, then implied? but dialoguing with tuff), then I also try to name it, to increase her "power" to witness, to reinforce their sense, intercept , even with only one or a few words, the essence, scope, which suggests to me more .... what he has evoked, what "has somatization. The language is is composed. The disembodied reaches its existence. (The pleasure of creating your own second measure is indescribable). The presence lends to the story, allusion to the synthesis of research that can go to the assertion mimesis. And 'this course true, but every time variable, so alive, to give most of my port connected to the sculpture. A path of assimilation, references, quotes, more or less explicit, and note that for me is what I'm living and that is, or has just happened, or I read during that time for the piece (a few hours, days or weeks ...). Sculpture pad, box, history ... History of the subject I preceded, in advance, record, store .... Matter regains function, medium, means, expedient solid, concrete, tactile (non-volatile) and that puts me at stake and that, somehow, through this re-live my call on the field. New cars, poised between past and present in the making. A bridge between the first (his story) and after (since recovering from a use or exhausted from virgin quarried ashlar) with any further commingling, contamination, and discoveries. New ground of comparison-exchange identity, enrichment of the inorganic mnemonic host-that lends itself to be something living, organic, organic. Bio-transmutation of inertia of aggregate freed from captivity in atavistic instincts, cemented amalgam dall'asfittico calcarenitic and recovered to the gesture, movement, expression, symbol, meaning a possible, but not all, indistinct, generic. One of the possibilities of re-returned to the scene of humanity (if ever there was already a ....), This time with a low probability of reply or recycling ... constraints, as never before, to a sense, accurate, said, not necessarily shared, nor universal. But what, then his own, decided by a craftsman, who can also change it at will. Just a title, a phrase, a word. That key or those excuses are part of a puzzle, simple or complex, clear or complicated. However unique, personal, direct first for him, then the other, the other for himself. What is fantasy, thinking, games, text, diary, precisely, node, history, consciousness, feeling, emotion, doubt thrill those who can say? Responses, correspondence, motivation, rejection, approval is an issue of the public, not the author, however, like to be the protagonist, the better, if recognized. The wit, such as video editing, may be the choice - between all the endless possibilities and combinations - the name associated with the form. The pair-title work can remain a secret exercise of authority (Projections, evocations, representations, appeals, personal paraphrase ... .. more or less direct and / or aware of). Or simply the suggestion, the didacticism, the 'help', which simplifies the reading and the revelation that the work should already have transferred or terminated. Obviously, the most addictive game is to sow "clues" that if at first it was only the matter and, even after they become "their" author, an expression of what lives and also the experience of that work sculpture condensed in that particular piece. A sort of reduction "zen" time point, when that fails to represent and express everything. Solid concrete, metamorphosis and interpretation of the brain, somatization of thought, otherwise fleeting and elusive as life ....
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