“After the debut exhibition “Where is my sacred?” (Fondazione Pastificio Cerere, 2019), the Roman artist continues his research in the provinces of the mind with SUBLIMINE, presenting a new series of works created during the pandemic that reinterpret “[sub] under the threshold [limine] of attention” myths and legends, sacred iconographies and folklore, trying to restore an aura to our present and outline the features of our future.

The associations and contrasts present in the works come from the “subliminal” of the artist’s dreams, ghosts and visions. The leitmotif is the repetition of the number 7, a symbol of completeness and of the anima mundi, representing the perfection of human nature.

Seven new SACRED SHRINES that rework the typical “Madonnelle” aka “aediculae” of central-southern Italy, containing industrial products associated with Russian and Byzantine icons, with typical representations such as the Christ Pantocrator, the Madonna with Child, the “all-seeing eye of God” ironically associated with Durex Invisible condoms (deus absconditus), all juxtapositions only apparently in contrast.

Seven lightboxes compose ABREACTIONS portraying a soul illuminated by a candle flame, writhing in the night under a jet of water in an intimate and underground place, printed on fabric that gives a rough and three-dimensional texture to the subject.

Seven ORACULAR SKULLPTURES, the new series of “oracular skulls” that this time the artist presents suspended and composed with an inverted triangle looking at the abyss tied with ”shibari” fluo nots created in collaboration with the Italian “rigger” Verususropes.

ARBRE MAGIQUE is a white lacquered drift wood on which I applied gold leaf on the knots and painted with bright red acrylic on the broken parts, as if it were living flesh. I then dug the trunk and applied two glass eyes and created two golden eyelids with clay, trying to give two expressions: one of amazement, the other of placid contemplation.

As in Ovid’s “Metamorphoses”, where the kingdom of nature mixes with the human, the organic with the inorganic, the flora with the fauna, I wanted to create an anthropomorphic trunk that would scrutinize it from inside its wooden soul. surrounding environment and the viewer. 

And finally SOFI@ a 1950s Italian doll covered with microchip fragments: a new post-biological, post-gender and hyper-connected deity; a hybrid being made up of biology and information, in its progressive process of dematerialization, which is a prelude to our cosmic and interplanetary destiny, envisioned with the candor of a child’s gaze.

The exhibition was part of Piano Zer0’s “Synolon” program, the temporary space in the heart of the popular and folkloristic distric of Torpignattara in the outskirt of Rome. »

Piano Zer0 was conceived and produced by architect Claudio Guerrieri
Co-curated by Stefania Plaza Mora.

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