#endofcontemporaryart

[lucasclafani]

untitled (2014) oil on canvas 60x40 cm.

[lucasclafani]

untitled (2014) oil on canvas, estroflessione 70x101 cm.

[lucasclafani]

Small affections (Les petites affections) (2015) oil on canvas 60x60cm.

[lucasclafani]

The Invention of Venice - Sheet One (2010/2011) collage

If it is true that art tells the world, because to say of what already exists before our eyes? What good repeat tautologically existence through art? The True and the Beautiful, but also its opposite, if indeed real, and should be visible, as such, would need to exist as images. And if anything, just the images of things, and that is putting them into a field of consciousness, would seem to remove them from the present, the existence disarticolandone. That which is declared as a World peremptorily, just as stated / formalized, tends to fade. Then maybe every mimetic activity (ideational?) To deny rather than affirm, rather than subtract to make tangible. So the world that the art feels he must categorically state is that art itself has decided to withdraw from the mere existence: nothing very direct, clear and yet all translated and sedimented in a variety of spatial plans time waiting to be infinitely disvelati. Venice, the most spectral of the city, is also the result of a decision. Canaletto and Carlevarijs, before turning to the views of Venice, made their debut with "views designed" and "tantrums" in which they borrow from reality their visual material, then rework it to their liking. These authors operate within a circle of accentuating the real imaginative and denouncing precisely the character of "invention". It is in this "idling" that resides within the identical feeling playful these works convey. The subsequent views of Venice are also a "whim", as well as those of Guardi and Bellotto, or any possible "idea" of Venice. But Venice is also the picture that above all else fades for a moment after its occurrence: it inevitably turns into shadow and reflection, and thus it "decomposes". Appoint Venice always serves to get rid of ... So Venice exists only where it has a picture: a ghost or a shadow to evoke ... well in a place like Sicily. Venice exists through a painting, a collage, a photograph or simply Remembering. If every tourist, instead of going to Venice, were to opt for one of these solutions, it surely would have a longer life ... Moreover, precisely because it is an ideal place essentially, physically walking to "Venice" is always something absurd. Venice is only a ghost or, which is the same, his own idea: Venice without it would cease to exist, as well as to vanish. What drives the development of "sheets" that make "The invention of Venice" is a kind of "soft minimalism". Within them the vertical strips and the "detach" between a field and the other, while evoking a certain geometry, are almost never perfectly aligned. The torn edges are always controlled and expressive without emphasis. In almost all of the collages he wanted to avoid a compositional "centered" and often the composition of the field has consisted precisely in the elimination of the centrality which inevitably tend in the visual arts. One hope is that in analyzing "The invention of Venice" has been induced to adopt the following concepts: unifying vision; overcoming the categories of old and new, current and outdated; painting without paint; Open; sublimation of the art; meditation; swinging of moods; query.

y.2011