Nicola Uneddu - Artist - Works
Nicola Uneddu, the works
There is a dimension in which our inner world (with its fears and nostalgia) mysteriously coexist, and the "World" that lies beyond the appearance of things, a "Beyond" that dominates us, of which the optical data - immediate sensory is nothing but the envelope or, if we want, the outermost offshoot that veils and reveals at the same time.
For me, painting is an attempt to evoke with color an image that is the least inadequate as possible of this Beyond, or at least of the shreds of it. So don't imitate nature, but cross it ...
The impossibility of exhaustively probing the reality of the artistic fact (in the sense of being able to circumscribe it in its most profound aspects: the genesis of color and forms; the "place", if we can call it that, from which everything originates), is a given in fact, with which I face every day. I am convinced that the work of art is not only a psychic product (which in itself would be no small thing!), But to say it with Gombrich "there is something objective in the artistic fact that frees it from subjectivism, from mere expression of self and exhibitionism ".
I like to believe that the question is posed in these terms or perhaps I simply cannot, or do not want, accept that it is less than that.
It is within this horizon that the various problems of a formal technical nature, the choice of means and themes, probably free and obligatory choices are placed.
So Art is that "Place", that "no man's land" in which it can happen (I say "it can happen", since it is not guaranteed at all, but perhaps it is only understood as a hope or a promise) , that the visible world and the invisible world, the purely spiritual one (but no less real and concrete), come into contact; as in a borderland or a "threshold" in which the Being manifests itself.
Painting is therefore somehow equivalent to "traveling", but the journey makes sense if it presupposes a return ...
The hero's many scars
If the object of the artistic work is the Essential and so for me, then equally essential must be the elements, the constitutive data, the Form (in all the values that the term possesses), the "final resultant", that is the 'Opera. This is why the form is minimal, nothing more can be there, since what is superfluous is not only useless but harmful, because it hinders what by its nature cannot have frills or gaps. Art can be done and used for many purposes, all legitimate and justifiable I presume but "... I know ... my life does not have the innocence of childhood. world ... "(Christian de Cherge 'monk killed in Algeria 21/05/1996 with six other brothers). Therefore, using the title of one of my works, I prefer a "Elena ... dolorosa Elena", which still affirms the ontological necessity and presence of Beauty together, to the smooth paths of clichés and the deafening chatter of the "best of all possible worlds" that we "enlightened" and technological men have built.
Chessboard of the distance
Elena ... painful Elena
Of the place of motionless time
Long wait, quiet ... patient ..., but short, sharp the word.
The dart of knowledge moves in two directions, one towards the target perhaps, the other towards the archer, surely. In any case, the former always presupposes the latter.
The Opera needs only itself, not a lot of explanations, a good title is enough, and even this doesn't have to be an instruction booklet.
It is from the Mystery of Being that Art originates, the work should not be "explained" but looked at, as far as possible it is self-explanatory, being the fruit of the Mystery it suffers useless words, it only needs a look. Could it be that the Ninth or the Requiem can be told?
The way of Aeschylus
So close so far
Double gaze arrow
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