La vita è un caos con poche oasi e qualche momento comico. W.A.

A Scattering of Blossoms series
I work in waves, because I’m impatient. Because of a certain physicality, of lack of breath from standing. It has to be done and I do take liberties I wouldn’t have taken before. I got all kinds of wonderful effects that I never achieved before. Sometimes it’s simplistic. It’s hot, so I do some cool paintings. Lots of times I like to enjoy myself. I think I’m in a good point of working.
Cy Twombly (in conversation with Nicholas Serota)

I like the idea of that sense of lack of breath anyone can experience especially when bright ideas arrive, and you are hit by a flow of sudden meanings for whatever you are figuring how to complete. Moreover, I like the description of his “working in waves.” In my process I feel I am moving in waves: with each new white paper the words are runnig on the top of my mind – the top of the wave. Then, writing the first lines the thoughts (and words) collide and crumble – the wave brokes down. To drive the flow of ideas I better concentrate on single different suggestions I am getting form Line Bruntse sewing works, and Heldi Pema snapshots/projects.

1) Closeness and imagination
Heldi Pema: the gates conceived as objects that keep you outside but awaken personal imagination: What are they protecting? What stays behind them?

2) Dislocation
Line Bruntse: a shape created with commitment to the creative process (application, manual work and concentration) is connected to its shadow but they do not actually touch each other.
Pema: once more the notion of the gate. It not only excludes but, considered as an entry element, drives the spectator inside – is it a personal “inner world/space” the one we are invited to explore? (see also points #1.) Moreover, Pema is fascinated by the Cimitero Monumentale, and sees the beauty of its monuments. He describes it as a collection of remarkable pieces of art event though it is the place for the eternal rest, and by most not generally taken into account as a display of art.

3) Seeing through, above and over the objects
Bruntse: the shadow is to be considered as an external projection of the object it belongs to. But it has its own existence it has been captured since it is, basically, a shape.
Pema: the sudden inspiration is derived from the simplest elements: everything is inspiring, and anything, seen as an image in a frame before even being photographed, can become the subject of a piece. He seems to see the picture’s borders before fixing them through the lenses. (Few days ago we were walking around Quartiere Isola and while talking, he suddenly stopped at a crossroad because he got impressed by the clouds in the sky, and took few shots of that particular light in the sky…from the centre of the street.)

4) Presence vs absence. Touchable vs. untouchable and materiality vs. insubstantiality
Bruntse: the whole concept of the shadow and its immateriality (see also point #2.)

5) Disorientation
Bruntse: her feeling toward the experience in Milan. (When I asked her about it she pointed out the contrast between the “visual chill” of Artoteca’s gallery space where she is working, and “the lingual isolation and geographical dislocation” she is finding herself in.)

6) Sudden inspiration.
Pema (see point #3)