“There was once a man who became unstuck in the world – he realized that he was not his car, he realized that he was not his job, he was not his phone, his desk or his shoes. Like a boat cut from its anchor, he’d begin to drift.”
“There was once a man who became unstuck in the world – he took the wind for a map, he took the sky for a clock, and he set off with no destination. He was never lost.”
“There once was a man who became unstuck in the world – instead of hooks or a net, he threw himself into the sea. He was never thirsty.”
“There was once a man who became unstuck in the world – with a Polaroid camera he made pictures of all the people he met, and then he gave all the pictures away. He would never forget their faces.”
“There was once a man who became unstuck in the world – and each person he met became a little less stuck themselves. He traveled only with himself and he was never alone.”
“There was once a man who’d become unstuck in the world – and he traveled around like a leaf in the wind until he reached the place where he started out. His car, his job, his phone, his shoes – everything was right where he’d left it. Nothing had changed, and yet he felt excited to have arrived here – as if this were the place he’d been going all along.”
quote: Tayoler Steele, 2010: "Castles in the Sky"
O ME! O life!
of the questions of these recurring,
Of the endless trains of the faithless, of cities fill'd with the foolish,
Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)
Of eyes that vainly crave the light, of the objects mean, of the struggle ever renew'd,
Of the poor results of all, of the plodding and sordid crowds I see around me,
Of the empty and useless years of the rest, with the rest me intertwined,
The question, O me! so sad, recurring-What good amid these, O me, O life?
That you are here-that life exists and identity,
That the powerful play goes on, and you may contribute a verse.
quote: Walt Whitman, 1891 "Leaves of Grass"
Since a child I love the art, drawing, painting, making models. Fortunately both my family and teachers always encouraged me to practice such activities.
I had got an MA2 degree in Egyptology at University of Pisa in 2004, and one year later I’ve started to study for a second MA2 in Digital Humanities, discipline where computational is applied to human sciences: such experiences confirmed me about the importance and ever-growing use digital instruments applied to artistic, linguistic, historical and literature domains. The encounter with Professor Roberto Rosselli del Turco initiated me to the text digital encoding.
After the travel of 2005 in China, I start to study the Chinese Calligraphy, which I use to practice yet today among the study of Chinese Language. Moreover I start to study the Sigillography and the traditional Chinese Art, adopting watercolor and crayons as my mains medium for my Carnet de Voyage, while I prefer the oil medium for paintings of wider dimension and different approaches.
About my way of oil-painting, I feel I had two main encounters which mostly influenced me: first of all the style which I use to call “neo-impressionist” of the American Cape Code School of Art, founded by Master Charles Hawtorne and pursued by Lois Griffel. Then the discovery of Sennelier oil pastels, with a so peculiar unctuousness and creamy texture which permitted to me a wider freedom of pictorial expression.
During my travels in Chine I had the possibility to visit the city of Lijiang, a little center situated on Tibetan Plateau; here I met the Naxi People, one of the many official ethnic minorities of China. I thus began to study their ancient culture, founded on the “Dongba” religious tradition, and their pictograph writing system (the only one alive at today…) which me greatly wondered.
My studies focused on Naxi – Dongba tradition thus began to be appreciated by specialists and scholar, as I was invited to expose some research project in China (Kunming 2009) and in France (Pris 2007, Arras 2010).
As I’m living and working in Florence ’till 2004, as often having the possibility to go to Paris and Beijing for my researches, I could appreciate and study the greatest master-works. In China I had the possibility to meet the opera of both traditional painters as 陈容 Chen Rong (1235–1262), 石涛 Shitao (1642-1707) and 八大山人 Bada Shanren (1626-1705), and as contemporary painters as 徐惟辛 Xu Weixin (1958 ) and 关则驹 Guan Zejiu (1941). In 2007 I’ve frequented the Art-Atelier of Marzia Pieri, when I could delve into the colored crayons; in the same time I started to deepen the painting by watercolor under the guide of Master Azad Nanakeli, who delighted with his unique style of using colors “very grind”.
Finally, meeting Stefano Faravelli, at the beginning just by his Carnets, then pursued and matured when I had the possibility of working with him in the summer of 2010 in Riomaggiore, and other meetings culminated with the Rendez-Vous du Carnet de Voyage in Clermont-Ferrand, into the November of 2011. The precious friendship with Master Faravelli influenced me enormously, especially in the way of conceiving my Carnets, and in the deepness and total self-immersion into the the Carnet itself; I thus began to consider and realize not just Carnet de Voyage, but also Carnet of study, alias monography-Carnets focused on one or more thematics, as the Carnet dedicated to the Egyptian Western Desert Caravans Routes, or the one dedicated to The Scroll of the Nine Dragons, a deep study and a copy of the masterwork of 陈容 Chen Rong.