The creative process in the work of Filippo Rossi. Speech on www.disegnamo.it

Artifex fecit: the creative process in the work of Filippo Rossi.

Imagine for a moment to describe your work. Seated at a table, with China still wet ink and glossy just finished for the new board ready to be delivered. Imagine being able to describe your work to a dear friend, without emphasis, but in truth, explaining the chiaroscuro, the use you made of the retina, the revision, which pens you used to describe ... imagine what you went through my head at that time. Imagine that you describe. Here, to describe. I decided on my new article on Disegnamo.it to show you some of my works and to deepen one. Are no tables of comics, although in the past I have designed several. I have spoken many times by other artists, but now I want to present something of mine. Not critical, but as a friend, one who speaks of his craft. I have always been fascinated with the artistic work 'do art'. Like something from nothing can be born: the idea, the project and its realization, and so here I am telling my work. We start from the materials. Always prefer elements considered 'minor': paper, canvas, jute, wood, glues. The only concession is the gold leaf, an important symbolic element of greatness and honor the tradition of my Florentine. Everything starts from a committee. This puts me to the test and usually brings forth a whole series of new works very interesting. I try to meditate often do. Silently, calmly. Then start the music. Will be trivial, but I loved Bach. Then I start looking for materials from scrap: old pieces of wood, rinds of trees, wires, scraps of cloth and thick rough and recently also of cardboard boxes. Once you find the right material, I am enchanted by the material; work of fiction; perceive surfaces, odors, erosion caused by man and time and ... I fell in love. Then the project takes shape. I begin to assemble the pieces. Trial and error several times. Once you find the right balance in his eyes and let it settle for a little soul 'of days, until everything becomes clearer to me and crystal. So feel immediately know what to do at the right time and in the right order: canvas, glue, paper, wood color, gold, final paint, wax. Everything suddenly makes sense, a feeling often very personal, I do not want to expose even more so to others. Who does art always puts bare. When everything has made the right shape, physically speaking: cutting, use abrasives, flame torch, carve letters, use the pyrography, excessive tearing pieces ... and the shape is revealed. Take for instance one of my work: the Triptych Mercy (3 panels 60 x 120 cm. Mixed media on wood. 2005. Coll. Privata), which can give a little 'the whole amount of my work. The painting was commissioned specifically by topic and this is the sacred text of reference taken from the Gospel of Luke in which I was inspired: 39 One of the criminals hanging there abused him: "Are not you the Christ? Save yourself and us. " 40 But the other rebuked him, "Have you no fear of God and you're damned at all? 41 And we indeed justly, for we receive the due reward of our deeds, but this man has done nothing wrong. " 42 And he added: "Jesus, remember me when you come into your kingdom." 43 He answered, "Truly I tell you, today you will be with me in paradise." Luke 23, 39-43 The creative process that leads to the creation of a work is often far more striking of the work. And this, as I said above, it fascinates me so surprising. I was a figurative painter for several years and then at the end of the nineties I started to use abstraction to better express my thoughts. Using very different materials in time I had not yet made clear the 'half' to reach the 'end'. After a break lasting five years? "One of my last exhibition was held in the United States at White Box Gallery 'The Annex' to Cheesla NY, entitled 'prophetic' 'Alive - maybe when I lost hope of being able to get back to work I was presented with the opportunity to start really, for a series of commissioned works that have emerged finally settling work of these five interminable years. The picture I am about to describe is perhaps the most productive artistic experience of this period, precisely because the committee and, further, one person among the most expensive of my life. Thinking about the Crucifixion, but I really wanted to emphasize strongly the aspect of 'mercy' of that event. I wanted the cross itself, while clearly visible but not invasive, clearly recognizable. What I try in my work, is a request to stop before the image, so that the work, early fascinating colors and composition, will also buy 'sense' to a deeper reading. In the works well done, I can not get bored even after several years. I want my paintings are quiet, like that which do not disturb when they are not looked at, but if asked to speak. The use of much gold leaf is offset by the 'poverty 'the other colors and materials? " color skinny jute canvas and paper in sight? "so that the work seems more a product which is not fully pro-Roman 'rococcò'. The triptych - 3 panels 60 x 120 cm?" arises, therefore, in order to illustrate the immense mercy which Jesus Christ on Golgotha - the end of his sorrowful passion? "also gives the good thief. The key to interpreting this triptych is the single table, in this case wood, which in my work is often the soul of man. roughness, created by more glue and paper tape, transmits the difficulties and anxieties, but especially the sin that surrounds the soul. Similarly, a smooth surface, or carried out without the use of paper, denotes the mercy, the grace that God bestows upon us humans .. We have Christ on the cross in the middle panel, more precisely, it is represented? " the form of 'Veronica' - on his side, which according to the Gospel, was born out blood and water as a source of mercy for us. The cross itself is Grace and Mercy that expands as the wave, up to invade the two side panels. In the left panel we have very clear the situation of unrepentant evildoers. Crouching, bending on itself, turning its back on God's mercy, making the darkness inside, preventing light from entering. In the right panel, the good thief, admitting his sin, opens the infinite mercy of God and is immediately plunged into the ocean of infinite compassion that springs from the certainty of the Word of Christ: 'Today, you will be with me in Paradise! '. The move, in my view essential, however, is only a more prolonged stay on the Triptych. Hold the primary concept of representation? "Namely that the table represents the soul and its findings sin - we see that the thief on the left, probably was not as 'bad'. The surface is fairly flat, not much relief and does not occupy the entire table. However, it is dark brown tending to leather. A color mixed with mud, filthy with mud, which does not allow infiltration of light, but still limited. His greatest fault was to not trust of Mercy God, despairing of his salvation, thus arriving to lose each reference, losing hope and becoming unable to see the true light is right next to him. The situation is completely inverted in the right panel. The soul, ravaged by sin? " Note that the paper has created ruts impossible to reconcile? "is completely immersed in sin. Not one inch of the table is paperless. But here is the miracle. The thief, recognizes his sin and submitting with the utmost confidence in the holy will receive literally diving into the ocean of divine mercy that makes him instantly, completely permeated by light. The technical process that followed, repeating a bit 'same for all my works. Normally I do not worry too much about the context where the work will be included. In this case, having received a specific request, I had to take into account the strong geometry of the room and the warm tones and harsh surroundings. I try to imagine through several sketches, the finished work, so as to have very clear measures or single panel of the triptych. Next, find the parts to make the gold, and spread over them a layer of bolus Armenian or Burnt Sienna with vermilion. I try to be fairly regular in the draft, because gold, which symbolizes mercy, should be more polished as possible. He then proceeds to draw up the paper, previously soaked and squeezed, is lying with a broad brush dipped in glue. I do not care if it goes over the bolus. I let it dry thoroughly, at least three days. Then, control strappature and cuts resulting from the glue and if everything is all right I proceed with the staining through damp sponge or cloth in the color. I avoid staining the bolus. Let dry a few days and control adjustments the various nuances that I want to achieve. If everything is as expected, proceed to the stage of lacquer. Use a protective lacquer that is strong enough, however, very short drying times. This allows me to re-intervene then color, if desired. eventually spreads out over the areas covered only by the Armenian bolus with a 'mission' and proceed with the drafting of gold leaf. Eventually you pass a coat of varnish over the painting. Finally, if the work must be a slightly warm tone, pitch? " strictly excluding the areas covered with gold leaf - a very light layer of bitumen or wax amber for furniture, and after half an hour is removed. The picture is then polished several times with a clean cloth of wool and ready for framing. In this case the frame is a very fine strip of walnut, not hinder, even symbolically, the depths of Mercy even beyond the framework. You can see my works at various www.artfree.it, and ultimately, that's all. Throughout this process, reworked, I think, and imagine how it could continuously display the finished work and to my surprise I notice that almost always, fortunately, something beyond the control and the work in this way acquires its own independent person.