In Palmalisa the study and research around "space", the dimension of life focuses and focuses on the relationship between the natural, ancestral element of "stone", the "rock" of the "stone", tactile matter and man.
It is the constant story of a dimension of knowledge and interpenetration, adaptation and mutual tension conducted in concert with the universal laws of physics and with human, religious, philosophical, scientific projection, in continuous search for the ultimate essence of things.
Palmalisa's work is a work of sculpture but more precisely of "revelation" through the continuous filing and unveiling of the material that thus loses its inert dimension and becomes dynamic, active.
It is evident in works such as "Drappo" and "Qumram" 2020, when you get to very thin matter, a veil, a whisper whose lightness is connoted as "soul", "anemos", "spirit", "breath" of the original body of the stone that contained them. But it is equally evident when the rock shows itself in its strength, in its weight, with its
gravity and tension trembles and breaks outwards screaming its compression as in 'Scream' 2019 or as when it wraps itself up, writhes and wraps itself as in "Embrace" 2019. Concentric motion is also found in the most recent work, "Fade" 2021, where the surface tensions of matter, a precious onyx, reveal and highlight the action of time on the physicality of things, expressing itself in a strong aestheticity, where the stone becomes skin, dermis eliciting an experience on the edge of repulsion and olfactory perception of the element.
Knowledge of the physical element of matter is a necessity. A tension towards the "gnosis": the ability to reach the primary term, to the meaning of the element through the intimate andlast understanding that is carried out with the act of "naming", in "detecting" through a name the essence and identity of the element of the rock. Primary element of the world.
"The Universe is a unitary living, which as such must necessarily be sympathetic to itself, and even the rhythm of his life must be in accordance with the rational plan and with himself, there is no chance in his life, but a single harmony of order".
Plotinus IV, 4, 35
In "Encanto", the rock, in fact, the stone is not lived in this artistic research as a mere medium through which to reproduce a subject, but is itself the subject on which the artist intervenes as a liberating agent, bringing to light a primaryaesthetic essence, revealing an energy and an expressive capacity.
A path that winds through rocks from different parts of the world, polyphonic voice and testimony of infinite processes that respond to universal laws, where time and space merge into a continuum, a process that loses its borders.
The exhibition aims to position itself as a flow, a story about matter and energy, about the subtle ability of man to perceive and his position in a status of tension towards knowledge, through listening but also through the act of mention, of naming, through the act of "Singing".
As Marius Schneider, musicologist, GER, 1903-1982, recalls in "The Meaning of Music" 1970
"The Spanish language has preserved this ideal connectionbetween "singing" and "stone" in the word song. Encantar originally had to mean not only enchant but, more precisely, petrify (kill) by singing. Desencantar means to call someone back to life through the offer of a song from the cave (of dream, death, petrification)".
he was born and lives in Verona to a family of four generations of stonemasons and sculptors. It is formed within the family business to work the stone
and to travel the world in search of materials.
The countless Italian and International collaborations in the world of Architecture and Design allow it to explore informal applications of stone and translate them into elements of fruition for man.
Through daily observation, he senses that matter is not inert, but lives on its own life that manifests itself to those who have the look not only of looking but at feeling.
From that simple process are born the unique pieces, lithic elements stripped sometimes from their masses, sometimes left in their geometric shapes.