Manifesto for a New Muralism
Painted walls that speak, that tell.
From the great tradition of the Mexican Renaissance (which happened to look precisely to Italian Renaissance artists), to the tradition of painted facades in Genoese culture, to Sardinian political murals. Now it seems that the desire to read one's own history on the walls has come back overbearingly and vitally to revive artists and patrons.
Yes, but how? We like to think that if a sign or a colour is placed on a public facade, it is to remain there and not to disappear afterwards.
and not to disappear after a few years.
CIRCULARITY of imaginaries, between who asks for a painting, who executes it, who will look at it, and this means
shared planning.
Listening to the proposals, discussion, iconographic and stylistic, and then of course ... the artist summarises, synthesises and pushes the proposal forward, turns it into art in the highest sense of the term, high craftsmanship.
WE LIKE TECHNIQUE
Jugglers don't improvise, neither do muralists.
We like there to be listening for the material of which the wall is made (brick? Cement plaster? Natural mortar? Cement? Sheet metal?),
choice careful choice of technique, of material (lime? acrylic? silicates? enamels?). And above all, respect for the dialogue that each painted wall brings with it... circularity of
gazes e thoughts between artist, client and public gaze.
WE LIKE BRUSHES
Yes, the old Bolognese brushes, the ones used by generations of decorators... we like the turn of the wrist that you have to learn to do, the study of colour tones to set up a chiaroscuro depth... We still think that the brush articles the expression and the language much more than a spray can... Knowing the old technique does not mean doing old things!
EXPERIMENT ...
Here you can see how collages have been used outdoors... we started off by looking at the old posters in the street which, despite the weather, remain irreverently attached... and so on to this proposal.