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The Topic: The subject of a narrative, Milan. |
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Milan has been removed from my consciousness for over half my life. It has played no cultural or sentimental role for me
or had anything to do with forming my identity. I have no sense of nostalgia for Milan.
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I asked myself why I failed to internalize my place of birth, the city of my adolescence; and why the idea of self-fulfillment
was always placed ‘elsewhere’ and the mental relationship with the city rejected.
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Or censored, or perhaps a taboo? I attempt to explain this in my autobiography ‘Nautilus’. |
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The fact is that the city is also a landscape, but as far as I was concerned, it only surrounded my childhood home, and was even in opposition to it. My perception of the city was ‘off-camera’ as I paved my way in this foreign land.
I wasn’t born there, I thought.
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The landscape – urban, lakeside, mountain, marine or rural – is an individual subjective experience.
It is not an autonomous object.
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Admiring it, even with all possible perception and feeling, communicates nothing to us, and it conveys no type of mental relationship. There is no meaning unless a resonance is felt in the experiences of one’s life and understanding. |
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What remains is a piece of ‘world’, a reality visible to us, the relationship between the known and unknown that we usually attribute to this word. |
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In the ahistorical and asocial condition intrinsic to the nature where I have lived since 2012, something managed thanks
to my experience living among the Tarahumara Indians in Chihuahua, Mexico) in the 1970s, perhaps I have developed an awareness that is less passive than that our contemporary world has cultivated. |
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As such, this urban interior landscape (2019) is a place of individual sentiments, of clues for reprocessing a past that no
longer exists, and for new speculations from the inside, on the track of, or towards, something. |
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Since the smartphone has come to be a universal communication device, how many ‘worlds’ exist for us?
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Technical note: |
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Images printed in black and white on uncoated Magnani paper produced exclusively for Acsaf. Piezography inks.
Oil painting with Wacker technique modified and adapted to the digital print.
Image size: 30x40 cm – Paper size: 40x50 cm |
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