The artistic collaboration with Serena was an important moment of synthesis for me. On the one hand, its informal drive manages to open up to universes of meaning not closed within preordained schemes, while on the other, the material drive seems to be able to cling to a further, more real and tangible dimension.
When one thinks about the cover of a book, it would usually be natural to think of emphasizing the characteristics that are contained in the text of a novel, for example. Because after all, it is true that the cover is the first contact with a possible reader; and anyone who does not approach a book will hardly want to read a synopsis, or the first pages of a text.
My choice was actually different, since I felt that what the " empathic sensory " capacity of Serena's works could give me, would have transcended the simple paper or digital support that is, going to color them with a wealth of greater sense .
Below, a series of paintings by Serena Zen , but also details of her representations.
What I find interesting in his way of painting, is precisely this added possibility of making more " paintings " within the same, depending on the portion that is framed from time to time. It is a bit as if it were the eye of the beholder of the work, to decide its focus from time to time. In this way, the same painting can then become a multitude of different paintings, and this is what I am trying to try also for the next works .
BETWEEN SCENOGRAPHY AND PAINTING
