To Dream, to Collect

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Often, in front of the beauties of nature or the magnificent testimonies of the past, the breath is interrupted and the emotions struggle to find a voice. Our experience in the world provides that messages are received that communicate directly with the soul, without words being necessary. To the contemporary observer the art of the twentieth century has given the opportunity to make an additional effort, a step forward, a subjective reflection on the matter that leads the viewer, as well as those who have the courage to live fully, towards the unknown beauty of their own interiority. The lines of thought that previously oriented its use are backward in the face of the need to leave free space for the expression of the self, the desire to theorize and represent both the external beauty, expressed by conventional canons, and the inner, fecund of mystery and possibility. The work of art is able to hide as much as to reveal, in varying proportions depending on the sensitivity. The word can deceive as well as the mind: a pipe may not be such, and a title can translate into the now well-known untitled. The word juxtaposed to the image may seem apparently not significant, can come to constitute a real paradox. However, misleading as it may seem, the lack of a title opens up to a multi-directional interpretation, a harbinger of suggestions and opportunities. We should not therefore ask ourselves what we know or do not know, about a work, rather what we hear or do not hear: infinite possibilities for interpretation, at least as many as each of us, lend themselves to being accepted, as well as many useful lessons concerning every aspect of existence to which art can act as a mirror. In the relational triangulation between artist, work of art and user, what we must not forget are not the title, the date or the subject of what we observe, but the work before which we stop by instinct has something to do with those who look, and can help them live better, or simply refine their aesthetic taste.

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