Since some years I have dedicated my work analyzing the concept of the border: maximum reduction of the pictorial material (only using the glazing and layering technique), distinguished by lightness and transparency and at the same time by stratification and a great richness of details: layering upon layering of putting glazing color to reach something that is not a body of matter, but a transparency with thickness, with weight, very light, that take his own power by depth. The spaces, so built, are furrowed by signs, that cross like a walk in a vast landscape. So that there is no loss of history, no loss of variety, no loss of complexity, even if the is an apparent absence of things represented. This basic idea is linked to the “borderline” concept: everything that is on the border has the characteristic of being extremely unsettled.. This situation has an enormous capacity, the power of changing. The model considered takes, on a collective dimension, the relationship with a “borderline” environment. This gave rise to the pictorial production in an Indian’s village of Bolivia, in a favela in Rio de Janeiro, in a home for the old in Italy and to the projects of artistic intervention in hospital.

The “Round” or “Giro”, which will form an ideal unity, just like in a children’s rondo, is an installation or ambient sculpture born of the translation into space of a series of paintings by the same title. The need to move into the space, which is also a peculiarity of my paintings, arose to realize a more self-evident hat of concept of space and volume in my work.. The images that I present. are mostly related to this kind of works.

The direction I see it heading is more and more to the necessity to catch an absolute need of silence, but not a passive silence, on the contrary very active and distinguished ; for this reason my work is a false minimal, because is rich of many little variations (the glazing ground) and of vibrating courses, traced not with light hand using brush or pencil, but using an edged blade that cut, but don’t tear, and that make the trip indelible (the sign). All that because I want to reaffirm a kind of aesthetics of beauty, maybe not showy, not unbecoming, subtle and sensual, that comes from that silence necessary to be able to hear a possible dialogue between ethics and aesthetics.

The direction I see it heading is more and more to the necessity to catch an absolute need of silence, but not a passive silence, on the contrary very active and distinguished ; for this reason my work is a false minimal, because is rich of many little variations (the glazing ground) and of vibrating courses, traced not with light hand using brush or pencil, but using an edged blade that cut, but don’t tear, and that make the trip indelible (the sign). All that because I want to reaffirm a kind of aesthetics of beauty, maybe not showy, not unbecoming, subtle and sensual, that comes from that silence necessary to be able to hear a possible dialogue between ethics and aesthetics.

Lines tensed from a wall to another wall, directly from the wall the lines go out, directly into the wall go in, are signs of a link between humans, solidarity between population. In other words: memory of the thousands of human destinies: meetings, disagreements, embraces, perspiration, perseverance, toil, pain, love, thought, derange, omnipotence, poverty, filth, innocence. Beyond their cross road we can imagine the meetings.

Mimmo Roselli