I believe that art frees up the contemporary artist from any presumption of content. The artwork is the means of liberation, the place where the meaning should not remain entangled, as much as possible.
The artwork comes from a kind of meaning but it does not impart any kind of meaning. Given this premise, all I'll discuss is a reiterated starting point, a signification that gets exhausted with the artwork.
I usually work with earphones on. I perceive the music I listen to as – the essential feature I seek in a sound composition – a lament of extinction, that very threshold, that consciousness of existence nevertheless... I look for that boundary that separates language from nonlanguage. If this might inaccessible in the objective reality, in art that’s the essence of research and experimentation.
I’ve often worked on opposites, neighboring territories separated by a minimal gesture, that is, the nonexistent boundary that allows for the very existence of the territories, and often morphs into a time threshold. Such opposites might be full and empty, above and below, quite often white and black. I’m not interested in opposites per se, but as vectors of friction and dialectics that get realized in a point of contact, in a precarious equilibrium, in a zero. Space-point of elision and algebraic silence and, simultaneously, time-point of disappearance and dissolution.
After working on the dispersion of the forms (that is, broken frames, overflowing canvases) and of the contents (moving/fading texts, the black seen as a stocked substance-function), currently I focus on the concept of “holding” — perhaps as a reaction. Tape, grids, hypothetical punched bars, and film-like stretched paints are the holding materials I evocate by the acronym THM.
I loosely refer to the area of post-minimalism, as an expression of a confused and insane modernism, that fails to get healed and fails to die. I'm interested in the raw material. This is not about centering the research on the principles of painting (modernist attitude par excellence), but only isolating the materials, only isolating an atmosphere.
EXCLUSIVE WORK BY FRANCESCO FILLINI