* BLA BLA *

“BLA-BLA” is the title of my first work, a real search of symbols and objects of our “use and throw” culture from waste centers, to read and interpret them again by the medium of the word. So, an old television without valves and video –the main instrument of our daily communication- was used as a picture-frame containing the work; as a picture, it rests on an easel, reached by a red velvet cloth. It speaks in silence, saying-no saying by full of blablabla photocopies in black and white, like the daily chatter of the T.V. and press. Inside that vague chatter a poetry appears, placed in central position in form of photocopy with white types on a black ground. It’s a poetry with pretension of word and communication; some humble verse, that is a way of finding again –not here, not now-, a thought, a glimpse of conscience.

* DECANTAZIONE *

“DECANTAZIONE” (1997) is the title of this installation composed of a cloth-dryer, (an usual italian model formed of a basement with some chords to hang out clothes and a couple of metal legs as a pedestal) from which many white sheets are hanged out by clothes-peg, like a washing to be dryed; then, a group of white basins which pick up the dripping of this washing, and from the washing of the sheets doesn’t drip only water, but also the black letters which composed sentences or verse written with a type-writer, while the sheets become immaculate again. Polemising with the deafening noise of the ruling foolishness, this work invites to the silence, the meditation about the deep senses of general words; but it’s a work that reflects and differs from a traditional idea of writing based on literary and grammatical conventions.

* WITHOUT TITLE *

“WITHOUT TITLE” consists of the “turning” of the written text into lead. After recovering an old linotype, I moulded the characteres into lead and finally I composed some metal verse with a great “specific weight”. According to the typographic ritual, after fastening lines I assembled the pieces on raw fir-wood billets; so, as the lead dies were imprinted from right to left, I hanged up a fragment of a mirror by a spring and some zinc plated wire, being careful of the right inclination , in order to allow a “reflected” reading of the verse. The installation is completed by a clothes-peg which keeps one candle and one match, two symbols of the lighting to be realized at the end of the “reflection” process. Kept by a rope, a piece of lead  hangs from the ceiling, just in relation of this wall installation –touchable poetry, not only to read it- while the lead recalls the dowsing pendulum, like the visitor who searchs poetry without the necessity of seeing it. On the base of the field installation, the wood crumbles and it becomes shavings, while the mirror dissolves into small splinters: so, from the hand-mirrors hanged from the walls the reflected light releases the hand-written verse, wich is written in positive and with the pencil inside the reflex.

* COVA *

“COVA” 1997, three black chairs, and under them there are some large candles sunk into the wool shaving. These candles warm three glass bowls, and inside them there are three black eggs that contain some verse in a probable opening.
Above the chairs three lead pendulums obscillate, as the symbol of the search. In continuous musical comment, a magnetic type reproduce the complicated mechanical noise of the linotype.

* FLANO *

In ”FLANO” a wire crutch alternatly shows “plumbs and pieces of poetry” fastened to some ropes, that is tablets of “flano” –a material with which the stamps of lead dies were made- in which is impressed the verse in positive, previously in negative reflected in the lead. More down, on a base there are two “nailed” egg-boxes, candles and matches to be lighted and to be stuck, like a votive offering to celebrate the “new discovery”.