Leave a track
He is speaking of the noise that he makes affecting his fast and nervous lines, these lines are so many and dense to cause the benign mumble of Moreno who later will has to find a way to transfer them on the paper . Sometimes I have the doubt that he tracked them more for the sound that it produce than for the image that it will appear on the plate in negative. Because if there is a thing that I know about Federico is that he really enjoys drawing .
Whether ”the base” on which he paints is a white and precious piece of paper, a moleskine of him or the tablet cart of a restaurant ,what’s impotant for him is to track his signs.
I don’t remember an only day of my life passed wihtout drawing or scribbling.
“The sense of my work is in the sign that I remember Federico”
I observe the hit flowing on the plate: the lines that I see appearing raise to me the same admiration that I feel looking at a juggler , a dancer and to the jump of a perfect diver . But what hits me is the deed of his hands.
Balanced and precise, it hasn’t got nothing of unprepared and improvisational.
While he is drawing , none of his movements is useless: as the needle of a seismograpgh records and focus everything that happens inside of him, that magmatic material that we usually name inspiration. It exists a singolar symmetry between the fluidity of the graphic sign of Federico, and the reality that it represents.
It looks that he uses the rule of the tecnique to channel streams , to exorcise those oniric landscapes’ power, at times gothics,at times modernist for the taste they have of the rail, and of the movement. Pictures which exist to the limit of a conflict: the sign that fights to express itsself and the discpline of the deed that leads itsself.
Let’s talk about his engravings, architectures for the majority but also faces and human figures.
Federico draws always what he sees. Is not him to choose a subject but are the images to emerge from his unconscious in the form of shards, memories that he seals inside a pane or a circle.
<Deep down, the most interesting things that could happen aren’t happened by children are them? Federico takes over his hand the hit of a drill which he uses as pen and he resumes drawing. It is already the third time that Moreno takes him the same plate,that in next steps is then soaked into the acid so as to create a duplication of traits: for the oldest , darkest and deepest to the recentest , thinnest just sketched out.
“What I love about the incision is that we work in layers of material . This is a long tecnique that forces to stop, to stratify the sign with the tought”
< Somewhat as happens in the memory>>,
I said. <<Yes, as in the memory>>.
Federico smiles , and he takes up leaving his track.
His deepest meaning: in the origin of this work: create a track means modify the material, and impose his meaning to the earth . It is not a simple thing.
First of all, because is the matrix to oppose .Then is that’s why the topics are endless. In the half way between sculpture and drawing , specific and artistic work , the engraving is the result of a wager. The are lots of elements on the table ,every of them is in fight to escape to the control of the artist. The tip which affects the plate , the activity , the wet paper , the manuality of the printer that control the press …
Lively materials sensitive to the bright, to the hot, and to the moisture. As soon as I have understood how much is difficult and exalting keep the line of all this. It has appeared clear to me why , in all the possible tecniques , Federico has chosen to focus to the engraving.
Obviously when I ask him to tell me how has started his collaboration with Ivan and Moreno , he substains that it has been a case “I used to come here to buy paper, he says <<I came so often that they started to ask me what I was doing with that all paper. I showed them one of my art exposition’s catalogue, and here I am”.
Then he stops, he raises up the hit by the plate on which he is drawing the profile of the Guggenheim museum that through his gaze looks more a boat at launch than a building : <<Hear, he says>>. Hear the sounds whcih it makes>>.
He is speaking of the noise that he makes affecting his fast and nervous lines, these lines are so many and dense to cause the benign mumble of Moreno who later will has to find a way to transfer them on the paper . Sometimes I have the doubt that he tracked them more for the sound that it produce than for the image that it will appear on the plate in negative. Because if there is a thing that I know about Federico is that he really enjoys drawing .
Whether ”the base” on which he paints is a white and precious piece of paper, a moleskine of him or the tablet cart of a restaurant ,what’s impotant for him is to track his signs.
“I don’t remember an only day of my life passed wihtout drawing or scribbling”
The sense of my work is in the sign that I remember Federico
I observe the hit flowing on the plate: the lines that I see appearing raise to me the same admiration that I feel looking at a juggler , a dancer and to the jump of a perfect diver . But what hits me is the deed of his hands.
Balanced and precise, it hasn’t got nothing of unprepared and improvisational. While he is drawing , none of his movements is useless: as the needle of a seismograpgh records and focus everything that happens inside of him, that magmatic material that we usually name inspiration. It exists a singolar symmetry between the fluidity of the graphic sign of Federico, and the reality that it represents.
It looks that he uses the rule of the tecnique to channel streams , to exorcise those oniric landscapes’ power, at times gothics,at times modernist for the taste they have of the rail, and of the movement. Pictures which exist to the limit of a conflict: the sign that fights to express itsself and the discpline of the deed that leads itsself.
Let’s talk about his engravings, architectures for the majority but also faces and human figures.
Federico draws always what he sees. Is not him to choose a subject but are the images to emerge from his unconscious in the form of shards, memories that he seals inside a pane or a circle. “In me there is the impulse to close every picture. I think that is due to the fact that memories appear to me as frames from the past. Older are the memories, older are the images.“
Deep down, the most interesting things that could happen aren’t happened by children are them? Federico takes over his hand the hit of a drill which he uses as pen and he resumes drawing. It is already the third time that Moreno takes him the same plate,that in next steps is then soaked into the acid so as to create a duplication of traits: for the oldest , darkest and deepest to the recentest , thinnest just sketched out .
“The sense of my work is in the sign that I remember Federico”
< Somewhat as happens in the memory>>, I said.
“Yes, as in the memory”.