Blacky
Antinomic Hopes
Blacky's very titles, often inspired by literary masterpieces such as T.S. Eliot's "The Waste Land," offer us a key to interpretation, an invitation
to decipher the symbols and allegories that populate his images. Blacky draws from an imagery rich in suggestions, ranging from ancient burial
traditions to esoteric beliefs, from stylized anthropomorphic figures to pop patterns reminiscent of tribal art. An imagery that, at times, seems
to reflect the decadence of contemporary society, the loss of values and points of reference in a fragmented and disoriented world.
His works are dominated by stylized, synthetic, plastic symbols, shapes that evoke totems, columns, human figures reduced to the essentials.
The surfaces are often characterized by flat fields of color, such as the intense yellow that illuminates the upper part of "The Burial of the Dead,"
a reference to the sun, to divine light, to the hope of rebirth. But also a sun that, at times, seems extinguished, incapable of illuminating a world in decline.
These are images that reveal themselves immediately, but that require a further act of listening if we want to grasp the value of their evolving symbolic universe,
with the constant shadow of nihilism and the dystopian vision of the world in the background. They are works that question us about life, death, mourning,
memory, our human condition. Questions that become even more urgent in an age of decadence, where the meaning of life seems to have evaporated.
Blacky's art is a "heretical" art, which challenges conventions and pushes us to look beyond the surface. It is an art that reminds us that art can be a powerful
tool to address the great questions of existence and to process the deepest emotions. An art that, in a context of decadence, can help us find a meaning,
a direction, an antinomic hope.
