I have read, listened, written, drawn, painted, photographed, visited… Everything can be more interesting if you remain curious, if you do not lose the desire to learn and experiment. I pause to observe the contrasts of colors, the different points of view of a shot, the sound of synonyms with which the same thing can be described, the harmony of a painting. A note can also be color, poetry is also melody, an image can scream more than one word. The expression: that's all... it's all here. (Editorial Director - Art Director)
To talk about myself I would use the English concept of Language Enthusiast, with its bad translation into Italian. Years of study, travel and authentic and pulsating passion for what lies beyond the border converge in this expression. I have an indiscriminate interest in any culture and any person with a story to tell. I remain with difficulty compressed in my dimension, I feel the continuous need to push myself further. I can't stand the innuendo, the half sentences and the boredom of waiting rooms. Certainly communicative, analytical, I split reality into a thousand pieces and then reassemble it. I think and write in 4 languages, which I love all of them, because inside they sing me a beautiful song. (Editor - Translator).
What unites Piacentini's Architecture with Greenaway's Cinema, Munari's Design with Tiepolo's painting and Kandiskij's studies? What unites the election posters with the paper tickets we used for the tram? For visual culture, the challenge of the third millennium lies in seeing the red thread that binds each of its branches to tell the image and aesthetics. I would like to do it through a passion that comes from the tradition of classic cinema. After all, what is the history of Design if not the cerebral attempt to give a soul to matter, to plagiarize the form according to its most hidden meaning and all to be revealed? (Editor - Reporter)
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In the history of art and visual culture, the study of the line has always had important meanings, visible or hidden. The line expresses the mood, the disposition, the personality of the artist ... but equally it also tells us of the centuries, of the times that those styles have gone through. Clearly, from sculpture to painting to architecture, these trends and these precepts then moved into the world of Design which, through the study of shapes (and of course materials), obtains aesthetic results that can go beyond apparent linearity.
If the emblematic "line" par excellence is writing, at the same time we can say that Design is a contemporary art of writing through forms ...
Brackets are the two ORIGAMI STEEL products that use the most heterogeneous types of lines. Straight, curved... mellifluous to the point of being rounded in some sections but in a baroque way, almost as if they were looking for an artistic value. This can be seen very well especially in Bracket Robin which incorporates the Robin accompanied by an underlying floral motif. The lines fit into spaces that appear to draw trapezoids, which are filled by them. Bracket Flowers & Butterflies partly resembles Robin; obviously the theme is different, here is the butterfly, but the iconographic process with the flower is repeated, which in this case has more freedom and imagination to develop.
"If two forces act simultaneously on the point, that is, in such a way that one force exerts continuously and always to the same extent a greater pressure than the other, a curved line originates, in its fundamental type of simple curved line." (Kandinsky).
The lines therefore tell us about the history of art and man. The closed line can be associated with Van Gogh and Michelangelo; the one open to Leonardo or the Impressionists and privileges the relationship with nature. The line used in the Counter-Reformation is "wonderful" in the sense that it sends the faithful back to turn their gaze towards the absolute and the celestial sphere. The "symbolic" or more static line used by Egyptians or Byzantines, on the other hand, implies a way of representing a power lowered from above and to be accepted uncritically. Futurists like Boccioni use wedge-shaped lines (oblique converging to split space). Then there are the abstract lines of Kandinskij, Mondrian ("I force myself to express the universal") etc.
Even when we do not notice it, perhaps unconsciously in the contemporary design of objects that we use every day we apply a little of these principles ...
