Since 1980, in parallel to my painting work, I have been mounting installations based on the opposition between the figure of an artist (or one of his most representative works) and the picture of a mouse.
These artists are Mondrian (Amesfort 1872 - New York 1944) and Malévitch (Kiev 1978 – Leningrad 1935). I chose them because, in the history of avant-gardes, they represent in the best way a kind of lucid madness.
The rat (Rattus rattus, lower pleistocene, two million of years ago) shows a biological and evolutionary madness that we could define as necessary (Anankaios).
This biological and dialectical opposition arouses in the observer the feeling of tragedy, which is a tragedy of the nature, a tragedy of the man, and a tragedy of the artist, as he’s an entity that constantly oscillates between the illusion of a social existence and an unreal world; which are both inadequate.
In addition to this kind of art based on concept and relationship, I create paintings in which a principle that I use to call metarationality takes shape.
In order to protect the rights of animals, all the rats that I use in my installations to corroborate these theories are immediately set free.
54esima Biennale di Venezia
Trasporto in laguna delle sfere
Variazioni su un errore di Parmenide