Floating Hidle Hernia

chemistry and physics

Since I have knowledge and unconditional self-existence, I have always considered the chemistry and physics as two pillars that support the whole. Every phenomenon, the gravity of celestial love, disease tides, is due these two forces. Everything is generated from them and it all depends. Growing up I always attached more tenaciously to a scientific worldview and what governs it. I was never able to find anything equally credible, exasperation of this has often led me to a sort of existential scientism, to a conception radically nihilistic: I was born and then die. How do I find encouragement to live? My approach to these two sciences goes back to my childhood and my curiosity congenital. I was a child always looking for answers, because too many unexplained obsessed with the need and desire to find something (or someone) who can make me understand the knowledge and the unknown. I was curious about the world that both surprised and could not make sense if I could not penetrate it (or similar) completely. I was a precocious child, I was simply one that went out of his mind if he did not understand the why of things. "It 'just so' was a response that I created neurosis and depression. I had the questionable fortune of having a father who has always indulged my desire to try, to experiment, to react, explode and melt the elements. Now I know who has done more for his own amusement and for the spirit of education because, even today they are no longer a child, whenever he can put his hand to my fun experiments. Growing up I began to understand a bit ' most of the encyclopedias and the texts that I found around the house. Then came the school, but learning was not fun anymore: too theoretical and impractical. Chemistry and Physics of study subjects are boring. When they explode, or split, or burn, then you are fun, there is just that, child or adult, I can thrill. That's why I never studied. I do not think he had a proper scientific training made it possible to carry Chemistry and Physics in my artistic research. If I had known in the academic and rational would be able to easily adapt to the visionary concept of a work that I have. A thin

baggage of knowledge and the desire to continue to wonder, as my work has taken shape, I realized that my approach to chemistry and physics is similar to that which had the alchemists. Even they had founded, it was all experimental and empirical. They had no modern precision tank researchers. Alchemy was a philosophical question. Chemistry and Physics mingled with astrology, numerology, medicine, mysticism, religion, art. The alchemist wanted to get to know a supreme (supreme knowledge) and seek solutions to human problems, as I try to always answer and the various stages that made up the alchemical process seems similar to my creative process. Both rely on rituals. When I get out of the gestures work like I was in trance, subconscious, atavistic and uncontrollable as in a mystical dance. And then there is suffering: the alchemist had a real value in the conduct of the process. I like him pain. The suffering of my body, the hammer, with the black powder burns, splinters of wood and iron planted in the skin, inhalation, poisoning is a kind of martyrdom, sacrifice my rage to understand, to get answers . Due to this parallelism, or maybe just afraid of nothing, I went over to a more mystical than those who continue to remain my pillars, sensing a force in science and conceptually, deep, not far from religion.

Matter I was born in the wood has always been my element, my subject. I studied through the experience of old, they were carpenters or farmers, legends and mythology, botany. Growing up with a lathe to go downstairs to play secretly manipulate the wood was the natural outlet for my first expressive needs, pencils and pens when not enough for me anymore. As a child I lived in the midst of boschi.Non I liked playing football, I amused myself with the trees, trees, trees. I suggest security, so huge, so strong, so wise. They were most interesting other children. The

knew by heart the soles of my woods, I could see the subtle changes with each change of season even if apparently remained the same, and comparing them to my body, I began to understand how human life was fleeting.

Then I started building furniture, working with wood to bring up money, cursing behind what appeared to defects, cracks, knots, parts that are not well absorbed the dye, and veins strange and deformed. I learned that these reactions years later I applied to my recent work. Yet for so long I never thought of wood as a base for my work and my research: I saw it too tied to tradition and figurative sculpture. I do not like anthropomorphizing a material with a deep spirituality as well. Wood is a living, even in death. Born with the sacrifice of a tree, with roots that have lived and produced oxygen. The tree is a vital element in the flesh of his memory and I see these processes, I feel that he was part of this system that keeps me alive. The wood has a memory, the first thing I do before starting a job is to count the circles that I will use the trunk. Through the thickness of individual rings recognize the dry years than wet and lose myself to imagine what the tree has lived at that time: how much history, wars, famines, deaths have seen, in many human tragedies and social character has done by supporting actor Silent and this over the centuries. Slowly I began to know him in another way, to have a more intimate relationship with him and childish. So I learned that the wood has a soul, a wise friend who is telling the life and seek advice. No more passive matter ready to be molded, but essential to interpret, to adapt to many human conditions, so easy to compare her to me, my life, my thoughts. I like to penetrate the material, download the rage in the wood with strong gestures, tiring and painful, without precision. Just like the human drives do. The
dilate, break it, the hammer, hit him with objects, ripping, the smell, the bite, they often eat to absorb its essence. The challenge in a physical fight: my strength against his tenacity, and I sometimes punishes injuring the body.