The extraordinary communicative capacity of music combined with the dynamism of images can make the works of art, history and cultural sub-stantia of a place perceive in a unique and deep way. The will is to valorise the beauty of the area in which I live to enhance its aesthetic magnificence: add beauty to beauty, interacting in a contemporary way with works of art and history, to tell it through that creative modernity that has always characterized our land.

LA TELA DI PENELOPE is a work of synaesthetic synthesis in which sound, color and movement converge within the same dynamic emotional flow. Thought, feeling and will cooperate in order to cut out that part of reality that aesthetically distinguishes itself from the background noise that surrounds it, in order to restore a strong and coherent world, free of superfluous, but not devoid of those contrasts that are essential for its development. The video, shot inside a wool mill, has many references to the musical score. A first and most evident level is that between the musical rhythm and the movement of the machines. The second is characterized by the relationship between the graphic sign that the notation leaves on the score and the images that flows before our eyes. It is carried out both according to quantitative criteria of a numerical type and qualitative criteria of a dynamic-directional type. The third and last level is the evocative one and concerns the relationship between the musical instrument and the textile instrument. Strings, mechanics, wires, frames, mechanical components and movements typical of instrumental typing mix together synergetically, mutually amplifying their energy value. A consideration must be made regarding the genesis of the work. Music and videos are entirely made by the author, starting from the initial stage of composing the music, to the audio recording of the tracks, video footage, to the final editing stage. Since my artistic research is aimed at the synaesthetic aspects of art, I believe that it is necessary, as far as possible, that the artist controls and manages all the creative elements of which the work itself is composed. Since my artistic research is aimed by the synaesthetic aspects of art, I believe that it is necessary, as far as possible, that the artist controls and manages all the creative elements of which the work itself is composed.

A special thanks goes to the Bottoli family for their kind availability