The research developed in the last year of work is based on the dialectical relationship between mirror elements: the balance between surface forces (lateral and frontal) and tonal passages. Where the shape is constrained or contained in a geometric structure, the wax is a counterbalance capable of restoring softness and expressiveness to the final result.
In following this path I met a medium with whom it was possible to establish an open dialogue, this special material is wax, investigated according to different chemical compositions (beeswax mixed with stearin and paraffin) that make it organic and alive, since it manifests its own will according to how it responds to the directives of those who mold it. Here the artist sets boundaries, and the wax works by declining the liquid form until it reaches a resting stage where the premises suggested ab origo are accepted or rejected, leaving open transparencies, shades, in a subtle game of internal contradictions.
The focus of the operation is on the “process” intended as the verification of a thesis aimed at responding to an initial problem. The layering of wax levels is not only a physical principle, but also a metaphor for the role of time, the spatial dimension co-author of the work. The initial study or trace is a guideline but it is time that, like a sieve, establishes the internal rhythms of the sedimentations, variable relationships that reveal their will when the operation is completed.
Often the tonal bands are a palette deriving from the vast chromatic assortment that the various online-social platforms present before our eyes on a daily basis.
In this way a dialogue takes place between an ephemeral source such as the digital trace, by its mathematical nature, and its “transmutation” into physical work, living and human as it is imperfect.
In this way the sensory experience is amplified, emphasizing a dialogue between the individual units and the set of relationships that are formed.