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Mixed Media / Interdisciplinary
$1,200.00
Currently Available for Sale: 1
17" H x 17" W x 0.1" D x 0.1 lbs
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Description
Three identical muses and queens, draped in elegant evening gowns and their faces concealed behind bovine‑skull masks, conjure a modern echo suspended between classical tragedy and medieval sacred pageantry. Simultaneously, the duplication of these women enacts a lucid vision of the multiplicity of the Self, united with the perpetual recurrence of our inner traumas. Around these figures, ashen fields of abstract geometric forms emerge, carving the space into a “diagram of the soul” where numbers—arrayed like shattered vertebrae—open a reflection on life’s fragility. Martin Heidegger teaches us that human existence is always propelled toward an original “thrownness,” a “being‑there” forever poised between awareness and oblivion. The skull—mask of death and yet of renewal—evokes vanitas, reminding us that life, by virtue of its finitude, acquires depth only in its swift disintegration. Concurrently, the aforementioned interaction between geometric forms and feminine figures alludes to a dialogue between the will to measure experience (logos) and the wild energy that eludes every scheme (pathos). At the center of this composition, an inscription summons the potency of Silence: an absence of words that is simultaneously a presence brimming with unspoken meaning. Here, the “little cry” becomes another suspended object—unshouted yet clasped within a heavy gray mantle, where every fold and stain transforms into a sonorous body made visual. It is an invitation—echoing Derrida—to perceive what remains unseen yet sustains discourse. This “Cry of Pain” functions as a critical device, urging us to acknowledge the unbreakable frontier between what we reveal and what we harbor deep within. Like a philosophical laboratory, the work beckons us to linger in that interstice of maximum tension, to embrace our “marvelous and terrible” human condition, eternally poised between beauty and abyss, word and silence.
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Printed by the author with Canon imagePROGRAF PRO-1000 on FineArt Hahnemühle Photo Rag 308gsm paper, manual interventions with pencil and acrylic colors.
Year Created
2025
Location
ItaliaColors
Black
Materials & Tools
FineArt PrintAcrylic
Search Terms
SkullWomanDressNumbersAbstractPainRed dotsVertical textConceptualPathos
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Luigi Maria Verde
Reggio Emilia, RE, Italia
My artistic practice consciously moves in an area of undecidability, inhabiting that liminal space where photography, drawing, painting and writing converge in an uninterrupted dialogue. I do not consider this hybrid approach as a simple sum of techniques, but as the affirmation of a poetics that recognizes its generative core in the tension between different languages. Although my works present manual interventions, geometric signs and material stratifications, I consider them fundamentally post-photographs as they maintain a profound connection with the indexical nature of the photographic medium. This media ambiguity is not indecision, but an active semantic strategy.
I am particularly interested in what Jacques Rancière defines as athoughtful image, an entity that does not simply illustrate a pre-existing thought, but constitutes a magnetic field charged with unresolved tensions, resistant to univocal meanings. The work thus becomes a space of perpetual oscillation between apparently opposite polarities: technological automatism and manual gesture, documentation and creation, material presence and conceptual abstraction.
My creative process reflects this threshold condition: photographic elements are deconstructed and recontextualized, but never completely denied; pictorial interventions assert their materiality without erasing the underlying photographic trace; geometric signs impose a visual order that dialogues with the organic complexity of the captured image; words insinuate themselves between the visual layers, not to explain them but to amplify their ambiguity.
This hybrid practice mirrors our contemporary reality, culturally and technologically fragmented, where images, texts and data constantly mix. I am not interested in resolving this ambiguity, but in consciously inhabiting it in a contemporary landscape, where distinctions between artistic disciplines become increasingly porous.