Ballpoint Pen on Cardboard, 14,8 x 10,5 cm, October 2019
”This drawing is the fruit of natural observation towards the marine landscape from my home in Genoa, northern Italy, overlooking the Mediterranean Sea. The drawing is part of my Biroscape series, number 245. All Biroscapes are small windows that open onto possible worlds, both real and unreal. When viewed live, the small size forces the viewer to get very close to the work. It is like seeing from a small hole in a wall and observing the immensity of the sea, or other space. I think this is very important because, in addition to the subject represented, I think it is necessary to perceive the technique with which it is represented. The size of a design is not important, in my opinion; the dimension is perceived by the viewer from within the drawing itself, whatever its size. The horizon in my landscapes tends to be low because it allows the perception of a deep, distant, broad horizon. Height and length are measures that cannot be changed on a small cardboard, the only size that can vary is the depth. This type of subject allows the artist to take full advantage of that peculiarity.
The type of board I use is very smooth and allows me to just touch the surface and get the shade I want. I use a classic black Bic Crystal pen with a 1mm thick tip. The variation of pressure on the pen or its angle determine completely different results that I try to make the most of with interesting solutions. When drawing with a light pressure and obtaining a soft shade you have to remember to pause to clean the tip of the pen to avoid smudging, so I pass it on a sheet of paper two or three times per minute to guarantee cleanliness. The slightest stain on such a small surface would compromise the whole mood”・
In this case the dimensions of the work will become part of the judgment?The artwork of art has different dimensions, but the stare maintains the same proportional relationship with it. The larger the size, the greater the distance.
That is to say, therefore, that from a proportional point of view there are no differences in dimensions but it is only a question of proximity or distance of the gaze.
If it is bigger, I have to move away, and if it is smaller, I have to approach it, but the look at it keeps the same portion of space for it unchanged.
Another thing is the decorative destination of the artwork. In this case the dimensions of the work will become part of the judgment?
So the perception we have of it is influenced by the use made of it, regardless of the pure value of the work of art? Does the work of art have an absolute value or is it determined by the use made of it?
Style, in the contemporary age has become not the element that defines the identity of the painter or draftsman, but an obligation, not a natural disposition that determines, through careful analysis of the technique, the hand of the artificer , but a repetitive practice, a long theory of similar or even identical paintings, in summary the serial reproduction, however original, of the product.
This, fortunately, there are any exceptions, is the current cultural proposal, which does not allow the artist to show the shamanic qualities he had laboriously conquered.
A consideration regarding talent and the application of talent. Drawing and painting allow, through the use of materials easily available to everyone, a possibility, which is their use. They are precisely instruments, whose action is determined by the will, but if the will goes beyond the technical capacity of those who use them, the result will be partial and mediocre. Talent is therefore subordinated to the right balance that exists between the idea and the product. The misunderstanding arises when the viewer has no discernment in observing the technical process and judges only based on the result. This judgment is allowed because there is a total disconnect between the idea and the quality of the result, and an overall trivialization of capacity in favor of the result, whatever it is, in defense of the unshakable myth of subjectivity. At the conclusion of this brief reflection we can say that the phenomenon is completely new, in considering art whatever is produced with painting or drawing and in considering this necessity as the daughter of talent alone, who, once recognized, can do without of any teaching up to completely eliminate the judgment of self-criticism. It is the new modern avant-garde.
Una considerazione per quanto riguarda il talento e l’applicazione del talento. Il disegno e la pittura consentono, attraverso l’uso di materiali facilmente accessibili a tutti, una possibilità, che è il loro uso. Sono precisamente strumenti, la cui azione è determinata dalla volontà, ma se la volontà va oltre la capacità tecnica di coloro che li usano, il risultato sarà parziale e mediocre. Il talento è quindi subordinato al giusto equilibrio che esiste tra l’idea e il prodotto. Il malinteso sorge quando lo spettatore non ha discernimento nell’osservare il processo tecnico e giudica solo in base al risultato. Questo giudizio è permesso perché esiste una totale disconnessione tra l’idea e la qualità del risultato e una generale banalizzazione della capacità a favore del risultato, qualunque esso sia, a difesa del mito irremovibile della soggettività. Alla conclusione di questa breve riflessione possiamo dire che il fenomeno è completamente nuovo, nel considerare l’arte qualunque cosa sia prodotta con la pittura o il disegno e nel considerare questa necessità come figlia del solo talento, che, una volta riconosciuto, può fare a meno di qualsiasi insegnamento fino a eliminare completamente il giudizio di autocritica. È la nuova avanguardia moderna.