“I started the ongoing series Silence/Shapes in early 2010 to give a physical shape to silence. To realize my idea I chose the chemicals used to create smoke bombs, a medium traditionally devoted to create chaos in political demonstrations, and to juxtapose it with landscapes and natural environments with overtones typical of the romantic and sublime landscape painting of the 19th century.
These environments become composition-relevant in the process and there’s a conceptual side lurking in the work, in which non-object, formalist compositions, due to their location in public space, are open to political interpretations. Social relationships are reflected in the confrontations between color and landscape, individual positions are contrasted with, or inserted into, communal structures; personal imaginations encounter collective image culture.
The aim is to show what is invisible for its own nature. Besides the religious aspects concerning what most of the religions call the ‘hidden manifest’, the political choice of using a violent medium in these landscapes states that beauty can be found in clashing visions.”