My choice of a representative painting is justified by the will to get over the
conoept of reality as transparency and immediacy without any mystery which
mass-media and the functionalist approach of the technical-economical knowing
impose.
What mainly interests me is the relationship between art and reality as a whole, and my aim is directed to the forms of collectivé knowledge as something which can be only partially limited, and therefore as a space for possible action rather than value, a space for the interpretationreelaboration of reality.
Each scene I represent is built of references and images taken from different ages and contests in order to obtain a puzzle effect which reveals that any situation is the result of cultural and ' tempaal stratifications.
The writings which stand out as titles painted in my pictures take inspiration from cinema placards and from cartoons but, far from their original communicative function, they are not illustrated by the images they accompany: instead, they are denied or contraddicted by them, ereating implied meanings which can be realized only through an attentive reading.
A main theme or reference chosen for the picture is always destructured and re-interpreted by the cotnplexity of the image.
I deal with passages from the hystory of thought and with scientific concepts as improbable cartoon headings, and distort film titles into metaphorical representations of much more concrete situations.
The figurative representation I adopt tends to the hyperbole, the exoess, and the protagonists of the recent and past hystory are all equally victims of a paradoxical vortex where everything is threatened in its absoluteness.
The meeting of different chronologies tries to represent a wider concept of time where each thing relates to endless other things.
The collage structure of assembled elements is present not only in the images, often built by juxtaposing monochromes of different colours, but also in the supports I chose for the pictures, which I want to be improbable and artefact in the same way. My installations are in fact sculptures made combining different pictures and crossing opposite scenes in the same situation, though keeping a bidimensional approach which differs from the idea of the ambiental work as something closer to a direct experience.
Walter Bortolossi