Fabrizio Cotognini, Acceptance, 2010, cm 210 x 90, organic media on paper, courtesy of the artist and Prometeogallery
This piece express itself using basic supports and overlaps of Japanese, Nepalese papers and other Oriental papers, ideal to show transparency. Actually this ambiguous transparency is the key to read this piece: observing it carefully, we can discover hidden peculiarities, written material which is the origin of my work. The overlaps of papers give shape and materially define a passage through time, always questioning what is written or drawn in the below level. At the bottom of this research there are images and icons from classical art, that are prerequisite and basis of the piece. I use, and therefore reinterpret, old fragments, that get contaminated and modified in order to add signs and symbols not only to my personal imaginary, but even to a collective one that belongs to life and history, trying to map a new contemporary figuration. Usually images are processed until they disappear, swallowed by the piece itself, covered, usurped, disfigured. And inside this chewed concept, creation takes the lead. This piece uses a lot of written material as descriptive and structural corpora: writing becomes a sign, and sign becomes a body. Body is another main theme of my poetic. Papers are treated as flesh, at the beginning it is pure, then it is invaded by writing until disappearing while giving space to sediments, memories unveiled in-between visible and invisible. In this piece appear holy icons, taken from Nativity and reinterpreted, a series of insects that inside the map become metaphors. Religious and cultural metaphors, symbol of mutation and at the same time repulsion. This triptych maps a new history of Annunciation iconography with classic canons through sign and metaphors. Annunciation not as gesture, but as undiscussed and spontaneous acceptance, which is linked to the plague metaphor through an iconographic research inside animal kingdom. Therefore we question spontaneity, that automatically becomes ambiguity.