Mirko Canesi: Fall and Rising, Fall and Rising, Fall and Rising…

In my research I try to tackle a broad reflection focused on nature: how it can become part of the artistic process and its emotional or conceptual content. Specifically, it is my intention to make clear the event of an act of violence, as it may be exercised by man over another “living being”. The plants, which by their nature are passive, they lend themselves to communicate this concept, arousing in the viewer a feeling of empathy. The process of identification derives from the human need to explain things through the experience of its own. In fact the plants are different from us, and you can not know how their response with respect to an external action may be comparable to ours; for this reason I think mine is a research on human perception, which in fact is a filter and not a fact.

My work can take many forms and in fact I work for each series that I consider as an observation within a broader discourse; in each project I deepen maybe a specific aspect and I consider ita s the chapter of an essay. Apparently my actions  run on a living nature, such as leaves or logs; I use the materials considered not compatible with it but that somehow try to emulate, such as adhesive pvc wood effect paint or faux marble after applying layers of building materials on a tree, but there are many exceptions. In any case, I try those possibilities in which the materials are integrated with plants, working on the weak boundary of the plant that makes the subject while maintaining guaranteed life itself; I’m interested in the adaptability and flexibility of things, as opposed to coercive external forces.

The depiction of violence in reality it was not a choice but a consequence. I prefer to speak of the perception of a violence that the violence itself. I started my research by painting. Less and less interested in the representation but rather to the surface, I began to intervene with “excuses pictorial” directly on the leaves, understood and perceived as the final support; as “containing life” paint on them still attached to the plant, became how to intervene on life itself. I started  the first steps of painting in the public gardens of the suburbs, as a reinterpretation of some styles of street-art fixed, and then continue acting also on houseplants or in the woods.