Massimo Innocenti , august 2012

What terms quite simple in their complexity and in their sublimity enough match can create an emotional statement ?

I intend to talk about two features mirror , two demonstrations kaleidoscopic lonely

that are suspended in a rarefied emotions, where the wonderful diradazioni are transformed into substances and materials , in endless mirrors and scemati by a continuation of the image. Potentially

is evident , as it is simple , the self and the other reflections in a single dimension , but in the middle, in the middle of the substance in artistic choice we expect a language, a voice that does not get depressed , but that remains unifying vehicle to give us splendor and sounds through the silent noise of the epilogue of the time. The case is that two artists attempting to cross the rarefaction and do not choose to technical similarities , but as for different principles : one is the reflected image and photo- grafata , the other painting as infinity , a representation of a thought as thought .

slip that the two artists are trying to prove , born of a possible reversal of provable that makes them load balances to the point of tracing the same path , with respect to the common aesthetic sense, you go to arrovellare in mild scenarios almost traditional , almost , pictorially speaking, prospective , but instead they use a total difference marking a semantic distortion , making them next to each other without stirring language , and where it becomes necessary , take over the case, which of course has consistently intromissivo its own rhythm , as if to reclaim his , the case law , a kind of plot, in a relationship between two people , but not predictable . In this emotional speculation the likely similarities represent a form of exercise , it seems a literary composition , or rather , a harmony of signs and words seasoned with matter and substance : a chance Baroque and informal , until that real metaphysical Orphism , which leaves decay every possible effort to denounce any possible disinpegno .

As for the work of the two artists we can not identify the similarities , because these would make any attempt poetic , rather than the need to grasp what are the variations possible similarities and differences and the attempt to break a path with an organic feature of expression. The choice of paintings and photographs, are not a finding of interpretation, but as a transcendent value that goes to wedge in the case and in a vacuum, to demonstrate a path unexplored, but accurate and well detailed , where function and growth damage at the time the precise probability of randomness . So doing the works are cultivated its own ground , forming limits and invisible at the same time penetrable to the point of re-envision the limit. < / P>

Giovanni Bigazzi uses photography , painting while Zeliko Pavlovic , both working for years in separate searches , but the opportunity to contrast their issues in a space, or rather, common language, has made them subjects of a landscape inarginato .

The peculiarity of Bigazzi is in its very \" elementary \" , articulated in detail so that every photograph becomes continuous research in the absence of presence, such a change , like a vortex of flies before a storm , any purity in a natural condition . Then travaricare every possible line of demarcation and get a story faithful to the mystery of emotive language , inevitable part of the unknown that exists in a possible truth. And it is as a presence that goes beyond the limits, to recognize an asset that is not only intoxicating colors , but that refuses sentimentality that falls nell\'intimismo and can scadenzialità a likely spectacle of himself, but instead look and still images divulgatorie d \' charms inactive , giving voice and sighs , and then begin the existence and reach a thread that unites, as a chimera , the metaphysical illusion of a possible unexpected time .

Zelico is a painter, he painted the mind in its past, but voluntarily recalls how intuition identical to the starting point , in so doing draws from his experience a \' compelling intuition that makes stem the story then head to an infinite abstract . So , he feels , not only the discrepancy between the real and its mathematical proof , but as his own truth by an original unity as a universal source and where the simple blending of lines and rhythm, go to forge a space Daedalic equal to the most arcane architectures mental . Do not choose the mystery or the unknown, but as the hesitation shown by the observation of a moment, and its spread in geometric properties , living constantly irradiation emotional , looking out at the time, increasing the square of the distance from the body to a genuine proportion imaginary , so finding an absolute original .

In the interconnectedness of composition and in its range , the two artists try to represent , you can insert spaces settling of a unique poetic element which does not derive from a single , unknown harmony, but as a possible suggestion analytical . Areas of synthesis in lower places , moments of district funds or acting as scenes of the main scenes , paintings tratteggianti meanings absolutely invisible and , at the same time , reflective , to the point of telling mute feelings and color notes .

Hence the feeling that hovers between the inviolable circumstances where participation , finding the right size between a silence and a colorful sparkle fading , it proves itself parallel to the poetic , inviting poised to dwell in a phenomenal view of the inner blindness . In this variation of combinations is possible to search for these artists, or rather , their superposition of infinite frameworks that tend to widen more and more in the mysterious twilight , where to find each fracture is canceled in accordance with the use of an option , the prince : quell\'aurora timeless sound that celebrates the spirit.

This duplication creates two orders of view , two parallels that simply seek the means, what is indisputable and the space between them of a possible revelation , a truth without dogmas or prejudice, but just trying to look for a character that drags conductor the condition variable to a desired stop . Both hypotheses for investigating and advancing , leaving uncovered all those signs and sensations that were used to decipher the correct proportions and outbursts of infinite charms . What a plot of a story , no subject, looking at a character likely to tell and interpret the direction of a possible dialogue . So , what is the fact ? Not only in what proves that we prove , but as a conceivable conclusion that we can not deny , even if that denial is just the value of what we see in this attempt , but only to deny it , the conclusion makes us sharers this trip out of a deductive experience . But it is outside of the veracity poetic logic of their search, and this idea is pleasant, debatable, but certainly not appealing precisely because it demonstrates an ability to track who knows what conception of logic or plausible , but to find the point infinitely away from a circle to its poetic axiom of attraction . It will be readily feasible

not understand this attempt , but the condition and value of the two artists can delucidarci any shade and if there is a discrepancy in their research , this is looking for : disjoint harmonies to run in the shade dell\'irrelativa emotion and perceive the uniform irradiation is going to stick everywhere .

Therefore , this work , this work , and because of that we will be working only spectators of a single path that manifests itself in all its intention narrative , where you can reflect on that modus scribendi the shape and its size , history to confirmation of certain constants that spirit to the body you make images and thoughts. Images and reflections are all born from an intuitive faculty , from a mother who is the origin of all sciences and mistress of the imagination, that between the real and its opposite , lets entertain the preambles to bump up to decant the possible appearance : so here\'s the feeling , that the universe , the Earth and we are immersed in it.

\" ... the last horizon prevents me .
But as I sit and gaze, boundless spaces
beyond that , and superhuman
Silences , and deepest quiet
I in thought I pretend ; ... \"

from “L’INFINITO” by Giacomo Leopardi