Broken Narratives of the Universe and the Mind
(an introduction to the work)
The mind, the universe, sexuality and murder. Four pillars of a broken narrative that focuses on cosmological darkness, the phenomenology of evil, the aesthetics of insanity, and the universal act of murder and explores the meaning of existence in a highly irrational and violent universe, often mixing dark overtones with blatant satire.
What are the open possibilities of figurative abstraction in painting, photography, narrative and experimental filmmaking? How can we tell a universal story when only broken narratives are left available to us? What's the relationship between the particular and general, the ordinary events and the cosmological global narrative?
The work develops in antithesis to conceptual practice. Images and hidden narratives are never planned in advance, but stem naturally from the experimental and performative act as a free flux of associations and endless destructions 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 reflecting the puzzling nature of the mind and the universe itself.
Art is seen 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. The laugh of the crazy man.
I dive into darkness, swim deeper into the stream of universal consciousness, surrounded by the colors of darkness. 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. Isn't it all 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