October 26th, 2024 | VIA DI CITTÀ, 49 SIENA
Opening Saturday 26th 2024, h 6,00 pm
October 26th – November 30th 2024
“MORA MORA altri orizzonti”, solo exhibition by the artist Carlo Pizzichini curated by Elena Violetti.
Violetti Arte Contemporanea is pleased to present the anthological exhibition of Carlo Pizzichini “MORA MORA altri orizzonti”, curated and with a critical text by Elena Violetti. The Gallery collects a selection of works from 2010 to today and presents new works that derive from the experiments conducted by the Master in Madagascar.
An immersive exhibition of gestures, signs, emotions inspired and transposed into a series of pictorial and sculptural works, sees Pizzichini retrace his artistic path marked by many journeys to distant places, space-time experiences that have had an aesthetic, as well as human, influence. Pizzichini’s works are the place of a poetic text, written on the reasons for the desire to discover “other horizons”.
The starting point of the exhibition project is the expression “Mora Mora”, which in Malagasy means “slowly slowly”, a sort of invitation to the sweetness of slow life, to give importance to every moment, to do things with the necessary time, whether it is a lot or a little. Slowly slowly, where do you have to go? The accelerated drift of the neurosis of our era finds its counterpart in a place, Madagascar, where the passage of time is dictated by the setting of the Sun.
“That fiery orange horizon that every evening appears punctually a moment before nightfall, while purple clouds arrange themselves like horses in line right on the silver edge of the Indian Ocean, that horizon seduces and whispers in silence. It speaks of an island of the past, of a unique place, of a fragment of the world from the origins, of an archive of nature, of an indecipherable universe of peoples and things, of a treasure chest of cultures, disordered, chaotic, elusive. Sitting in front of the sea, which divides the “Great Land” from Mozambique, waiting for the dark, with the serenity of that Malagasy motto that makes “mora mora” the rhythm of life and the most widespread interjection, I finally dedicate myself to “Otium Deificante”, that is, to contemplation.” (Carlo Pizzichini)
On large canvases appear references and allusions to distant lands discreetly immersed in the typical sign texture of Pizzichini’s pictorial language. Poetic palimpsests, stratifications of meaning, emotion, experience. Pizzichini, as a complicit and curious observer, reveals in his works the essence of the World, not as a mere representation but as a “reconstruction” given by a deep and ancestral feeling.
Observing the horizon line, Pizzichini writes about his personal Odyssey. A place of empty archetypes and primitive purity, where the sign changes without losing its autonomy. Traces, notes, moments of enlightenment, visions, epiphanies are part of the fluid of inspiration and culture that feed the artist and his work in a constant exchange.
Pizzichini’s work is a synthesis between gestural abstraction and the European pictorial tradition. The innovative use of language and the wide range of allusions blur the boundaries between painting, drawing and writing, while at the same time preserving a high degree of abstraction, capable of always renewing itself.
His thought-generating sign is accompanied by an essential figurativeness, which does not represent but signifies. Together they flow into an ideographic alphabet, where the symbols are in immediate relation with a mental content. This coexistence refers to the vivid daily life of distant countries, experienced and introjected by the artist who gives face to the places of the world. A cultural conscience where memory takes on a profound meaning and guides the story of Humanity.
Pizzichini combines with extreme skill high art and low material, the profane and the sublime, adding a new dimension to the “transcendent” ambitions of traditional abstraction.
The exhibition features ceramics, an element that the artist masters like few others. Pizzichini has engraved his gesture on it: the primordial material has made itself available to genius. In Celle Ligure, where this tradition has very ancient origins and excellent names have marked its history, Pizzichini has found the place where he can transmit his symbolic gesture to ceramics. Pizzichini’s language is broad and free of classifications; the work is writing and is in a certain way related to calligraphy but the relationship is neither imitation nor inspiration. His direct shorthand is the allusive field of a visual suggestion. Writing has a meaning that goes beyond the mere definition of fixing a sign in a form but rises to represent cultural identity, memory, sharing, the domestication of thought and is such as to allow abstraction, formalization, analysis. Pizzichini’s writing is absolute, a common koinè of affinity and sharing, emotional convergence to access the universe of knowledge, a floating shared set, a means of collective understanding. An asemantic language that, precisely for this aspect, becomes universal and is capable of welcoming every conceptual projection. The beauty of Pizzichini’s work is the synthesis of sharing the human.
Spirituality, nature, the sacred, are the lifeblood of Pizzichini’s poetics, whose mystical interest goes towards what holds Humanity and profound Truth and leads thought back to the sources of Being and Creation.
Elena Violetti