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Iridescence  #3  -  #18

enamel and acrylic on fluorocarbon thread, wood frame, varnished aluminum background, Museum Glass

#3, #4, #5, #6, #7, #8, #9, #10, #13, #14, #15, #16  -  40 x 30 x 6 cm

#11, #12, #17  -  60 x 60 x 7,5 cm

#18   -   60 x 60 x 7 cm

Iridescence #3 (the origin of a square)

A reflection on the gaze and on our point of view is suggested by the evolution and development of a simple horizontal line in a square shape in the perspective in space.

Iridescence #4, #7  (spectrum) 

Starting from some pictorial studies on the light by Giacomo Balla and some musical compositions by the minimalist Terry Riley, I wanted to symbolically represent the light spectrum and its movement generated by geometric and mathematical elements repeated in the space.

Iridescence #5, #6 (veils) 

Surfaces in vertical lines overlap and alternate as light veils or semitransparent curtains, creating a labile and precarious idea of representation. Based on our view or our point of view these compositions change radically taking different forms.

Iridescence #8 (enigma)

The shape recalls the ancient symbol of the hexagram and consists of the overlap of various equilateral triangles, opposite or specular, made with slight differences in the dimensions and shades of blue or light blue, almost creating a sort of vibration, reverberation and movement inside the dark space.

Iridescence #9, #10, #11, #12, #13, #14, #18 (blanket)

An enigmatic, ambiguous form, a reflection of the concept of surface, between two-dimensionality and three-dimensional space; a perceptual movement generated on a surface that is no longer such. A composition played on the idea of rhythm: there are various lines (or cells) that alternate, creating harmonies and rhythmic times. The space is deeper or closer.

Iridescence #15, #17 (coincidence)

Coincidence is a reflection and elaboration of the concept of "coincidence": understood as a completely casual meeting of various elements, or as the constitution of an "event" established a priori.

Some scientists have theorized that the creation of our planet Earth and then the formation of life are the result of countless coincidences that occurred in succession, as a programmed mechanism and not simply a succession of randomness.

Then starting from some pictorial studies on light by Giacomo Balla and some musical pieces composed by Terry Riley, I symbolically took up the light spectrum and its movement generated by geometric and mathematical elements repeated in space. 

Iridescence #16 (compenetration)

Like a meeting between sky and earth, or a female and a male figure, two opposite forms of direction and color meet and compenetrate each other, generating a transformation of the space. These two bodies (or two forms) are made in horizontally stretched wires, placed on different levels and painted in different shades of manganese blue and magenta red (from intense dark to bright light), creating a visual perception of spatial movement decomposition. The two forms intensify from the top down, in the direction of the arrowhead.