Mapping the selfless
Indeed Mytrix patterns and layers consciously or unconsciously executed by the body -assuming a posture of self anonymity- and a self scanning consciousness are serving my art as symbols and dimensions of mind, matter, and spirit brought into a state of temporary, fleeting equilibrium.
It is as though every act of creation were destined to achieve only a momentary, contingent state of perfection redefining beauty as being elsewhere. I form, deform and reform each work with processes and medium of different nature spanning from primitive to high tech.
The visual narrative is the subliminal mechanisms of a dilated timekeeping metric surfing the memory of the present; a quasi-Buddhist understanding of the self as a mind en pointe in a perpetual present—a virtual neuronal space where there was no past and no future to speak of, but only transitions living without traces of linear or cyclical chronology.
Art is the ultimate ephemeral gesture. I am not interested in the know-how, but rather in the “NOW-how?”.
Shashi Caan / New York, January 2016
In the end, deeply felt experiences can be distilled to the witness of beauty.
Made memorable through interpretation or meaning, these cause humanity to deepen and wizen with or without conscious intent. Beauty, while universally understood and valued, has many faces leaving much room for preference and debate. Whether in its state of obviousness or lurking beneath the surface, in the work of Gianluca Vernizzi, beauty pervades with all of its myriad facets. And it thrills. This is especially poignant and poetically striking, given the inception and trajectory of his work and is a testament to his talent and soul’s expression.
He makes beautiful that which is distorted.
It is often stated that profound creativity and artistic expression is born out of adversity and abject experience. That the more extreme and wretched the experience of hardship, the greater the contribution to its artistic expression.
This hopelessness is also habitually described as a necessity for propelling its subject into enough despair to be forced to express the loudest screaming through their art. The works of Mr. Vernizzi are no different. What makes this work distinctive is the showcase of a sensitively insightful being, who having gone to the deepest depths of darkness and suffering, shares the pain but cannot conceal life’s intrinsic exquisiteness. And again, in the end, he sees and shares the sublime through beauty expressed in pattern, color and composition.
Colors Matter, a comprehensive public compilation of Mr. Vernizzi’s art, above all, shares with the world his personal amalgamation of thought, perception, meaning and sense of the here and now. In these works, he observes life, at play, deeply within. Having profoundly felt and understood these cultures, he coaxes and propels both himself and his viewer to become immediately present and to speedily move into the future. His use of pattern, both structured and organic, invariably becomes the recognition, representation and backbone of life’s profound intrinsic nature, allowing for an unfolding narrative and emotion that is intuitively edited and never runs amuck.
His use of color illustrates and forces the dispelling of fear, allowing him, as well as humanity, to challenge and overcome life’s literal and perceived demons. With this comes relief and a release of joy, viscerally absorbed and mesmerising.
The ultimate genius of Mr. Vernizzi is his ability to showcase horror through his innate lens of passion, hope and possibility. There is no judgment, only observation, acceptance and the stillness. His work pointedly reminds that deep within the heart of every human being is a simple, humble, peace seeking soul. Despite human complexity and sophistication, the soul seeks purely to be happy and lead a meaningful life. The simple heart desires only to feel safe. To be comfortable, comforted and content.