To Dream, to Collect

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It takes rigor, it takes visionary sensitivity, it takes reinterpretation skills, it takes a seed of madness.
It takes the will to undermine the common vision to be able to propose a new, different one, which corrupts the canons of normality of interpretation to sink the roots in the other, in what is under - or perhaps above - in what, in short, is elsewhere and take it out, make it concrete, visible, tangible.
This is what Mimmo Iacopino does, an artist born in Milan in 1962, through his works; the unit of measure loses its intransigent mathematical connotations and becomes an integral part of a dimension that sets it as the protagonist of a new idea, an idea that interweaves it and intersects it with maniacal precision to the art world, making it eternal, immutable. The fabric - the cotton thread or the velvet ribbon - is a prolongation of the artist's fingers and eye that intersects him in games of color and in perfectly calibrated shades going to draw the three-dimensionality of an artistic research born many years ago and changed over time following the natural process of evolution according to depth. First still life photography, then traditional painting, up to the landing of art that probes the use of material and space in their interactive dimension as the object of the artist's personal research and, therefore, the subject of the work.
Mimmo Iacopino chooses the paper meters, the traditional dressmaker's feet, the photographic film or the fabrics to create works that strike the eye of the observer and contemplates and which suggest the love affair that pushes the artist to create.
Because it is this feeling that is the basis of all his work: love.

Made with love is not by chance the title chosen for the show; it is not the frustrating pursuit of perfection and the representation of the utopia contemplated in moving the colored threads of Mimmo, but the joy that results from the abandonment of that idea, to the awareness of the impossibility of its attainment. And from this awareness follows the irony with which you approach the use of materials, colors. Everything in his works, although they are interwoven with extreme precision, suggests the depth of artistic discovery and the loving lightness with which it is treated, with which it is proposed to others, to lighten, in fact, the spasmodic yearning to " more and more ", to the elusive and surrender to the gesture of love and the joy that follows.

 

 

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