The seed burried under the ground apparently dies, but every spring reawakens to a new life to give living fruits, so from this symbol of rebirth after the darkness of the grave, their group works are not only the result of a continuous comparison (as no authoritarian enrichment of ideas) and a patient oppposition to the romantic concept of genius (or unexpected individual talent), but the hope for an overcoming of the fifty-year long dictatorship of the Pop Art mannerism and its spin-off (Land Art, Body Art, Video Art, Perfomance, etc…). In fact seed means getting free from the excessive superficiality and obsession for predictable academic provocations, and learn again the ancient manual labour in the misunderstood field between art and handicraft.

It is about not drawing on western ethnocentrism of the classical world, but rather make meet and espouse every authropogenic expression, between the local and the global, from cultural stories of the world population. So the imitation is not anymore and not only from Greeks and Romans (like Michelangelo, Raffaello, Palladio, Brunelleschi, Donatello or many others did, which copied techniques and styles, sometimes from other reproductions of lost and more ancient river civilizations), but it means making born and bring up someone else’s sons with his name and others’ surname; independent and cosmopolitan life works and works of life, neither mine, nor yours.

God, the Universe, nature, and history are looked with new eyes through human handiworks, like if a naturist took to pieces televisions or electrical appliances in a post-athomic scenery and then he reproduced them with cooked mud, using it like a prayer to new and fetish gods - blow of inorganic souls - which have come from nowhere for nowhat, but resistant to time time actions and fashions.

   
 
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