Stylised Venus’s shape designed and painted to convey a cutout effect, inspired by Matisse’s gouaches découpées. Sensuality, here to center stage, questions us ironically on the place it occupies to define the contemporary women’s identity and still nowadays on its exploitation in consumer society. A reinterpretation of the collage as fragments of well-known pieces of art linked to mass tourism and fashion: the Birth of Venus by Botticelli, the Blue Nudes by Matisse are melted together to create a statuesque eroticism inspired by Helmut Newton. Ri.Chi. turns her attention to the language of internet, to the careless use of fragments of culture and information, available at easy hand: does internet really makes us shallow and superficial, as claimed by Nicholas Carr?
A statuesque shape of man designed and painted to convey a cutout effect, inspired by Matisse’s gouaches découpée and John Heartfield’s collage. Decadent narcissism, here to center stage, questions us ironically on the place it occupies to define the contemporary man’s identity , a man who is so tediously self-centred. A reinterpretation of the collage as fragments of well-known pieces of art linked to mass tourism and the history of art: Jason by Botticelli, the Last Judgement by Michelangelo are melted together. Ri.Chi. turns her attention to the language of internet, to the careless use of fragments of culture and information, available at easy hand: does internet really makes us shallow and superficial, as claimed by Nicholas Carr?
Omnia vincit amor et nos cedamus amori is from the Bucolics (Eclogue X,69) by Publius Vergilius Maro : literally ” Love conquers all things; let us too surrender to love”. The sentence turned into common proverbial saying to glorify the inescapable power of love and its victory. Ri. Chi. plays with the meanings placing at center stage right its opposite: the defeat, the dramatic instant when the lover is struck down by Cupid’s arrow. The defeated man is here represented with classical and lyrical canons which are but shaped in a stylized silhouette engineered to generate a cutout effect. A reinterpretation of the collage as fragments of well-known pieces of art linked to mass tourism: The Rape of Proserpina, The Danube, giant of the Fountain of the Four Rivers by Bernini, Michleangelo’s drawings for the Sistine Chapel on twisting motion of the torse. Ri.Chi. turns her attention to the language of internet, to the careless use of fragments of culture and information, available at easy hand: does internet really makes us shallow and superficial, as claimed by Nicholas Carr?
Hommage au carré. Parfum vert. dialogues and plays with the masterpiece Parfum Vert (1963), from Hommage au carré, by Joseph Albers. According to Joseph Albers, the artist’s task is the revelation, the evocation, together with the knowledge of the vision with the aim of getting people to open their eyes (Interaction of Color, 1963). The squares proportions follow the golden ratio, establishing a link between architecture and painting in a way that is evocative of classic art. Here, the original artwork is turned upside down, to symbolize a dialectic overturned in contents: from abstract to figurative, from poetic imagination (synesthesia) to sense of appreciation of daily imaginary (dandelion flower that can be seen in common green grass), from a closed composition to unexpected and spontaneous vitality (asymmetry). A game of contradictions and oppositions to give birth to thinking and revelations. Mt 6,31 “If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the furnace, will He not much more clothe you, O you of little faith?”.
Obligation pictogram informing that it is not recommended to access places of knowledge without eye protection. Thomas Aquinas’ Summa Theologiae teaches us that what we see gets into us, unio rei visae cum visu; if the eye that sees red becomes the red seen, the utmost care shall be exercised to what we see. This applies both to the vision related to the senses as well as to intellectual vision that happens in the understanding. In the vision of the senses, the subject actively acts on the object by deciding if looking, e.g., at a green grass or a blue sky, in intellectual vision, this human process is totally unsuitable; contemporary knowledge is in fact huge, too quickly produced and disproportionate with respect to visual/cognitive faculties. This great and pressing mass of information produced arises as if it was a giant deity that offers the means to the human being to accomplish this heavy task. As God offers the lumen gloriae as enabler of the visio Dei (Summa Theologiae), so the WEB offers PageRank, RankBrain, Pigeon, TopHeavy etc., algorithms to position pages, words, to cash or show contents that enable the human sight and setting itself in charge of the human cognitive faculties. The eye becomes a Porsche tachometer mirroring the speed at which scrolling down pages, words, information upon information, images upon images.
Born in Paris as a pure reverie about finding myself in one of the most representative places of Milanese culture, face to the Pietà by Giovanni Bellini, as spectator and human being. Rêverie de voyage. Pinacothèque de Brera intends to drop the viewer into the drama and the mistery of mercy through Bellini‘s masterpiece. The spectator is here represented in a peculiar position that expresses an emptying state where each body part supports and needs, on the other hand, to be supported by the other. The original elegiac couplet that appears on Bellini’s artwork was reworked by Ri.Chi. , together with Prof. Baltazar Lopez in order to add a third character to the screenplay: us. Religious and aesthetic ideal are merged together by Bellini ( see Hans Belting), Ri.Chi. wishes to add the human experience: the human being, art and religion are put in relationship.
HAEC FERE QVVM GEMITVS TVRGENTIA LVMINA PROMANT | NOS ET JOANNIS BELLINI OPUS FLERE POTERAMUS. (If these suffering eyes almost wrench tears from you, Bellini’s picture and we could weep.)
Unlike traditional allegories, the Cave cave Deus videt interprets pride according to the artist’s personal experience and inspiration. The ruff trimmed with lace represents the concentric ornament around the self that symbolizes immoderate love for one’s own excellence and the fact of paying the attention absolutely to the self. The mask as well as the color-changing wire reveal the chameleon behavior that can be shaped by the pride: the most intelligent, cultivated, refined, but also the kindest, the wisest, the most pious etc. The metal and the expression of the mask and well express the emotional coldness and the inability to meet the other one. The wire coming out of the feathers locks in itself wrapping up in the lower left at heart line , thus creating a link to The Magnificat “He has scattered those who were proud in the thoughts of their heart”. The wire wrapped up in hourglass-shape refers in this context to the traditional Christian Vanitas and to the Vanitas as category of symbolic works of art associated with the still life paintings of the 16th and 17th centuries in Flanders and the Netherlands.