Remo Salvadori

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Remo Salvadori, Soglia (threshold)

Copper and painted wood

Location: Church of the Chartusian Monastery of San Giacomo

424 x 18 cm

Short Bio

With Remo Salvadori, the artist looks at the observer and not only at the observed item: the passage from intuition to germination, from formation to contemplation and vice versa, uninterruptedly. According to Salvadori, the art, the artwork and the observation are an infinite present continuum. Or, in other words, art is to identify and personally verify diachronic and complex experiences and relationships (for example, between gestures, materials, cultural sources, or models, paradigms and contexts of utilization). In his view, art is also to transform the opposites into a union, the combination of the different states of matter and psyche into shape, elevation without separation from the physical and sensitive aspects to the supernatural and ethereal plane. Alchemical experience and cognitive experience, the work happens in the moment without dispersion, leaps or fractures. An experience of reality which is not complex but complete, to achieve the global view as well as a higher consciousness of the connections and hierarchies, of the properties and powers connecting the human, the natural, the terrestrial and the celestial planes. A reflection adopted by Salvadori as his own. He lives art as a sort of revelation, which slowly develops inside, until it becomes clear and evident. Art is knowledge acquired via an inner process; the meeting and the processing reveal its intimate essence. According to Remo Salvadori, space is the starting point: both the family space (the house, the studio) and the collective space of the town or the universal one of the terrestrial or cosmic landscape. For example, Tavolo d'angolo (1972) was displayed for the first time inside his house in Milan. It is a round shape built around a corner, an artistic form included in the daily dimension and within the family relations to overcome the difficulties and separations. On the contrary, the work Nel momento (1974) shows "a complexity between full and empty. The different results visualize an energy which shows in the moment". But every single moment, as well as every single image, always looks different although the processing is based on only one method which is geometrically established. It is by cutting the surfaces that a transformation and a differentiation occur. The artwork is the evidence. For his forms, like origami or mandala, Byzantine mosaics or the famous "knots" by Leonardo da Vinci, Salvadori uses seven metals following the nature of the various substances, their properties and functions. In the mid-Eighties, the artist created Continuo infinito presente, a circular ring built by weaving a bundle of steel threads without showing the welding point, so to let the viewer face the indissoluble nature of space and time. Salvadori displays the work, whose size and thickness change from time to time, at the Pecci Museum in Prato (1997), at the Castello di Santa Maria Novella (Certaldo, Dopopaesaggio 1998), at the Galleria Christian Stein in Milan (1999), at the Stabilimento Manifatture Tabacchi in Florence (Boom, 2000), in Istanbul and Florence (Piazza del Duomo, Colonna di S.Zenobi, 2010).