The Universe and the Mind
(an introduction to the work)
Focusing on the concepts of cosmological darkness, the phenomenology of evil, the aesthetics of insanity, and the universal act of murder, the work explores the meaning of existence in a highly irrational and violent universe.
Mainly concerned with the open possibilities of figurative abstraction in painting, photography, and experimental filmmaking, in particular those coming from physical phenomena such as reflection, music, color, and propagation of light, the work develops in antithesis to conceptual practice. Images are never planned in advance, but stem naturally from the experimental and performative act as a free flux of associations and endless distructions of previous layers of thought and work. As such, they are subject to a multiplicity of interpretations since they are the product of a highly irrational process that reflects the puzzling nature of the mind and the universe itself.
Reflecting the importance of a work of art as an impression and a question rather than an answer or statement, the work wants to immerse the viewer in a global stream of universal consciousness in which each piece contributes a still to a global deranged narrative that investigates the place of man within infinity and reveals, hopefully, some of its essence.
- Pietro Reviglio -
All the Colors of Cosmological Madness
(notes on an artist's practice)
Color. Madness. The texture of cosmological darkness and its infinite possible worldlines. Beauty in horror and horror in beauty. Evil under the rising sun.
I dive into darkness, swim deeper into the stream of universal consciousness. The colors of darkness surround me as I search for a clue, a line that answers the questions emerging from the canvas. An undercurrent of color and doubt. A mirror is before me, shining light all around. The room is cold, immersed in silence. Reality and imagination blend. Am I lying, or is nature lying to me?
The music of the brushstrokes builds on the canvas before me. Images come in a flux of universal consciousness, of deranged narrratives, one harmonic at a time. Mankind slaughtered by the very universe that gave them birth. The flowers of darkness killing the body that nurtered them. The brush performs its act. The camera will capture it. I am killing darkness: the canvas bleeds, so does the mirror. It's an endless destruction of layer after layer, paint over paint, color after color. An irrational process bearing the mark of the puzzling nature of nature itself.
Someone will find the lost meaning within the canvas, or the broken narrative of the experimental film, sometime, someday. I won't kill the mystery or spill the secret. It's all in the physics, after all.
Pietro Reviglio, London, 2017
Selected critical essays for further reading:
Roberto Mastroianni: New York Interiors
Amalia Piccinini: Afterwords to Cinematography of Urban Madness
Maria Teresa Roberto: Guardiani del Tempo