TECHNIC : ‘Wet ink – A Learning from fluidity, absorbency and observation”.

The technique I have been using to create my works here in Casaleggio originates more from the writing form than the so call painting or drawing one. I have borrowed it originally from the Asian calligraphy. Even so the system of brushes is different, as it uses the very new technology of nylon brushes with an ink reservoir similar to the fountain pen application. The inks are indeed fountain pen ones, allowing a simple range of colors, and as a result have not use the traditional black ‘Chinese ink’. The paper is so called ‘rice paper’ [ even so any Asian person will told you it is not from ‘rice’], it is made of ‘natural’ fibers and most importantly has its ‘natural’ color, not bleached like ‘white’ paper is, which is safer for the environment. This paper has the advantage of being lighter and more absorbent than ‘regular’ paper, as a result it stains deeply the fiber,[ like if it was for dyed fabric, the color does not stay in the surface but goes deep inside, binding into the fiber].
 
While the essence of this technique is very ancient and very simple, it is to my believe the hardest one to master, and does not allow any mistakes,
there is no coming back or erasing! It is the most direct technique of drawing and painting that I know. I have accepted the challenges of this technique as my pratice of trying to master concentration and observation on the same time. Of course there is also other reasons such as: pratical, esthetical, ’emotional’ and so for…, that could be part of a much larger discourse. Also, it could be view as a reactivity against the new invasive form of ‘quick’ photography, too poorly and commonly experienced with the smart phones and similar divices, true they have they merites, but they have become the tombstone for our learning throughout ‘observation and contemplation’!
 
Essencially, the ‘pratical’ side results on having the lightest possible traveling materials, not only allowing flying from far away but being able to travel on the land by foot or bike with a backpack. Esthetically it is a way to wander into the world of transparency and fluiditySand specially this days, we don’t have enough of it. Therefore ’emotionally’ it allows to try to express the extreme softness and extreme hardness that we experience throughout nature, and of course what is referred as our ‘own’ nature.
 
Eventually, the technique means little, overall techniques are ‘ excuses’, it is only a tool for trying to tend toward a more ‘philosophical’ understanding of the world at large, a possible sharing with other, a legacy of our fragile recording while on earth, that is to say all the storage of all positives and negatives influences we have received as well as generated during our too short journey.
 
I want to thank all my friends that have supported me and make possible my primarily discovery and learning of their rich cultural and naturally preserved land throughout my ‘technique’ application in Casaleggio. As well as for inviting me to present it in public, allowing me to share my present and unique summer experience: my modest, ‘feedback’, return to they very moving openness and generosity.
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