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Vince

BIOGRAPHY



By using more current expressions, the artisan-artist, or rather craftsman-artist triggers the kaleidoscopic mechanism of his art starting from everyday objects and materials, weaving them together to create a new structure that comes out of the canvas like a hand to grab you by the neck and take you into a new world, a world shaped by the artist's hands, an interzone to use the words of William Burroughs, where common objects and materials are stripped of their essence to be covered with new meanings.

CONTRIBUTION



GIULIO MALAOSTIA'S REVIEW

Looking at VINCE’s works brings to mind a book by Gabriele D'Annunzio
"Hammer sparks".
The hammer sparks expression indicates the flickering shower made as a blacksmith poet, an artisan-poet (Carducci-style, revisited), and underlines the residual aspect of these prose works, almost richly fiery remnants of a more grandiose art, often moments of reflection on the art itself, i.e., meta-literary materials, or a record of sketches, fragments of potential organisms.
Just like D'Annunzio, fascinated in his later literary work by the creative power of matter, VINCE’s works start from matter to arrive at prose.
By using more current expressions, the artisan-artist, or rather craftsman-artist triggers the kaleidoscopic mechanism of his art starting from everyday objects and materials, weaving them together to create a new structure that comes out of the canvas like a hand to grab you by the neck and take you into a new world, a world shaped by the artist’s hands, an interzone, to use the words William Burroughs, where common objects and materials are stripped of their essence to be covered with new meanings.
In this sensory non-place, lead becomes weightless, an undulating sheet waving in the trade breezes. Tar is combined with linen, hemp, and paper. Synthetic and organic are sewn together as we wait in amazement for the birth of a new being, a new life, VINCE as a modern Dr. Frankenstein who infuses life, expressed as movement, in a place where before there was only absence, cold.

Standing in front of a work by this artist, the viewer is tempted and captivated, almost compelled to touch that material struggling to recognize and to trace previous sensory experiences. The force of the material comes out of the canvas and, like a clasp, shackles the observer to its presence, whispering in his ear doubts on the veracity of his view.
The sparks of VINCE’s hammer attract and intrigue, illuminated almost by life itself.
A bolt, a screw, some strands of solder, wood, and tar are deprived of their ordinary utility. They are no longer being used to create specific objects for everyday use or to be part of structural works or buildings. Through the artist’s hands, they have lost their utility and, as Wilde reminds us, have become absolutely "useless". They have become art.
Art that loses its "utility" ceases to compete with nature. It stops emulating nature by becoming experimentation and research, a new life, no longer a perfect copy.
Light is often excluded from VINCE’s works. Darkness and absence are the undisputed sovereigns of those moonless nights that shroud the viewer who is led to sit at the edge of the abyss to enjoy a post-industrial dawn of iron, steel, and lead held together by a new bond that is perhaps still imperfect and undeveloped yet extremely effective.