Officially registered project
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THE PHILOSOPHY OF THE PROJECT
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Belvaso is an open artwork, a dialogue between art and the viewer, who is invited to complete its creation.
It is a complex piece, in which the apparent two-dimensionality of the front surface conceals a wooden three-dimensional structure designed to support a real vase. These can be filled with water and hold fresh flowers , living, ever-changing elements that complete the work and define its final personality. While the artwork expresses itself visually through its front, revealing a true pictorial composition, the space between the frontal surface and the three-dimensional structure opens up subtle gaps that allow light and air to pass through, creating a symbolic bridge between the two dimensions. Through these openings, the audience is invited to interact with the piece, becoming an active participant by inserting real, preserved, or artificial flowers. Each intervention transforms the work into something unique and |
unrepeatable, a simple gesture that breaks the boundary between artist and spectator, bringing the piece life and in continuous evolution.
Belvaso lives between two worlds: that of painting and that of reality. It is not a concrete object like a ceramic vase which, though decorative and beautiful, is born with a practical function, to hold flowers, but rather an artwork conceived to be experienced, touched, enriched, and personalized. I like to imagine that, anywhere in the world, someone might wake up and change a flower to express their mood, using this simple creative gesture almost as a form of art therapy. I wish to let this vision travel into new contexts, to discover how it can be interpreted through different cultures, turning Belvaso into an open conversation with the world. |
BETWEEN PAINTING AND METAL: THE TWO SUBPROJECT
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The project is divided into two sub-series, based on the use of different materials.
The first features, on its front surface, a realistic oil painting of a vase surrounded by a fluidi painting, cast-like form. The painted vases, from whose rims real, living flowers emerge, become a symbol of openness to change, a gesture of order, an attempt to give form and meaning to what is chaotic. The fluid painting, on the other hand, embodies chaos itself, representing movement and life’s unpredictability; with its fluid shapes, it evokes the transformative nature of existence. |
The second, identical in shape, employs entirely different materials and techniques: the front panel is made of worked iron, and the image of the vase is not painted in oil but generated and post-produced.
The iron, often rusted or hand-worked, with its coldness and durability, contrasts with the transience of the flowers, adding another layer of meaning: the flowers bring vitality and beauty, yet they also evoke the impermanence of things and the inevitability of time. |