This project, while initially conceived as a practical solution for a wall surface, evolved into a profound exploration of my artistic expression. My focus centered on the individual tile, each one a unique artistic challenge. The endeavor to create a distinct design for every piece demanded considerable time, but the result proved worthwhile. The use of mineral pigments and enamels, combined with varying firing techniques, allowed for a diverse range of surface effects, some of which were unexpected even to me. Although the tiles were initially intended for wall display, their individual character offered relative freedom in arrangement. The final, somewhat spontaneous placement proved to be one of the most compelling aspects of the entire artistic process.
In our artistic practice, we have consistently ventured beyond the traditional boundaries of painting. This tile project originated from a specific need: to clad a section of wall. Each tile became a challenge, an opportunity to explore new techniques, even drawing inspiration from Erica's body art graphics. The greatest challenge lay in conceiving a unique subject for each piece. We sought to imbue each tile with its own distinct graphic identity. Our palette included mineral pigments for intense, vibrant colors, synthetic enamels for glossy, luminous effects, and spray paints for a touch of modernity and dynamism. We experimented with bold brushstrokes and delicate sponging, with stencils for geometric patterns, and even with dripping, allowing the paint to freely shape itself on the tile surface. Each tile was then kiln-fired at customized temperatures, adapting the firing process to the materials and techniques employed. We created intriguing landscapes, abstract figures, informal graphics, and geometries with unusual optical effects, manipulating forms and colors to create three-dimensional illusions. While not every experiment met our expectations, the project was ultimately successful. Our aim was for each piece to be a standalone work of art, distinct yet harmoniously integrated within the whole. This project, while initially conceived as a practical solution for a wall surface, evolved into a profound exploration of our artistic expression. Our focus centered on the individual tile, each one a unique artistic challenge. The endeavor to create a distinct design for every piece demanded considerable time, but the result proved worthwhile. The use of mineral pigments and enamels, combined with varying firing techniques, allowed for a diverse range of surface effects, some of which were unexpected even to us. Although the tiles were initially intended for wall display, their individual character offered relative freedom in arrangement. The final, somewhat spontaneous placement proved to be one of the most compelling aspects of the entire artistic process.
The act of experimentation is, in itself, an artistic practice: the art of pushing beyond the boundaries of the known. Body art represented a new territory for me, a realm previously unexplored. My body, transformed into a canvas for artistic expression, became a means of self-discovery and communication. It was an exciting endeavor, a challenge embraced and overcome, marking my first artistic encounter with nudity. Unburdened by constraints, driven by the joy of creation, I found liberation in the process. In those moments, my body became the natural framework for a graphic message. Art came alive on me, within me. It was an act of self-determination, allowing me to perceive my body not merely as a medium, but as a message in itself. And, naturally, the photographic documentation followed, capturing that ephemeral moment for future reflection. The graphic I had imprinted on my skin later served as inspiration for Claudio, who drew from it the subject for one of his tiles. What began as a personal and intimate exploration of art and body evolved into a shared experience, destined to become an integral part of his artwork. Together, we blurred the lines between individual expression and collaborative creation.
Orange is present in almost all of my works today. During a typical day at kindergarten in the 1970s, I was alone on the lawn. I held a white butterfly in my hands. I don't think it landed there on purpose. Those butterflies were anything but bold. I closed my fist. When I opened my hand, its wings were stained with a thick, deep orange liquid. The shades of orange I achieve today come from carefully selected natural materials: calcite, ochre, kaolin, sienna, clay, fluorite, opal, dolomite, sandstone, marble, talc, and bentonite. With their diverse compositions and impurities, these elements allow me to explore a wide spectrum of hues.
I created the butterfly with white wings and orange spots and named it Agnese; the name of one of our teachers at that kindergarten. It was a common butterfly, the kind you often saw there on the lawn. They darted quickly through the air, changing direction suddenly, before landing delicately on the grass or flowers. When still, they seemed vulnerable, easy to capture. And indeed, the day came when Claudio imprisoned one in his hand. Perhaps as a game, perhaps as an act of childish cruelty. But whatever the reason, that memory is still vivid in his mind. The butterfly with orange-spotted wings, for him, is not simply a memory. Claudio began creating art by painting butterflies with irregular orange hues. And these are not mere reproductions, but subliminal metaphors directed at his past. Claudio's art often stems from the need to process and reproduce images of his memories, to transform thoughts into material and tangible objects. Reproducing graphics on various media allows him to transform nostalgia into concrete things. A personal method, perhaps, to once again touch that butterfly.
