InkOnPaper

INK ON PAPER

SELF ABSORBED ON ROCKS 2019 - 2024

Self Absorbed on Rocks is a series in progress of panoramic works on paper painted directly on the sea coasts of different countries.
The pictorial action interacts directly with the landscape, painting directly on the cliffs and recording fragments of them: the speed and control required by ink painting, the improvisation in an accidental environment and the absorption times of the paper are prolonged for hours while mentally supervising the final composition. The immersive inner time shines through the painting and is considered the invisible element that supports the composition. Saverio applies a sort of photographic revelation process, using water and ink instead of chemicals and light and it shows through the colors the volumes and the texture of the rocks, the differences in height, the twists of the paper, the brush strokes. These images reveal the soul of these rocky places and their dialogue with the artist.

The title is inspired by a calligraphy painting by Tong Yang-Tze, who wrote four short monk’s prescriptions. “Don’t absorb in yourself”, one of the four, particularly provoked my attention, indeed pointing out the state of mind while painting and also the state of the wet paper.

FENKO catalysis chamber - a paper research institute in Taiwan - has been the consulting and technically supporting partner, by producing the bespoken paper used for this ongoing project.

Painting process’ documentation of Self Absorbed on Rocks

Making-of video documentation, Self Absorbed on Rocks V, Rügen, DE

ROCKSCAPES

The Rockscapes series evolves from the Self Absorbed on Rocks collection, emphasizing the diverse compositions and textures found in various cliffs. This exploration not only showcases the intricate details of rock formations but also invites a deeper examination of geological features on a micro-scale. Each piece serves as both an aesthetic gesture and geological tracing. Through this series, the subtleties of nature are brought to the forefront, revealing the beauty and complexity inherent in these natural structures.

The painting series that explores individual rock formations in a smaller format, utilizing Xuan paper modules measuring 2 x 1 meters. This modular approach allows for a more agile setup and quicker execution, and the study of various aspects of “painting on rocks,” such as the recreation of volumes, texture, the crumbling technique of the paper, and the differences in dry and wet applications of ink. Additionally, the use of a modular format allows for the creation of larger compositions and offers the flexibility to reorganize them freely.

INK TAPESTRIES

The Monoprints series delves into the expressive potential of color through the lens of landscape inspiration. Each piece explores less conventional frequencies of the color wheel, illuminating color aberrations that arise from perceptual errors. These works capture transient reflections and evoke colors that may represent the vastness of interstellar spaces, placing viewers in unfamiliar visual contexts.

Utilizing PVC sheets as a unique printing plate, this technique intricately blends painting and printing. The method not only records the intricacies of water patterns and textures but also facilitates the creation of shades that would be unattainable through traditional means. Mirroring the contact print method utilized in darkroom photography, this painting and pasting approach allows for careful composition of images, revealing new dimensions within the artistic narrative.

MONOPRINTS

210x95 cm each
Ink on Xuan paper, mounted on canvas

ETHER PROJECT, 2018

The Ether Project is an ongoing exploration of the interplay between visibility and the unseen. Utilizing Xuan paper coated on canvas, the series invites viewers to consider the landscape that exists beyond tangible matter. It probes a realm where the absence of conventional elements reveals an underlying essence—an ambiance of the ether. Through this artistic endeavor, I have synthesized the four fundamental colors that emerge from chromatic aberrations, phenomena rooted in the limitations of human perception under extreme conditions. These "errors" serve as a foundational palette, encouraging a reevaluation of the way we view color and landscape. In reflecting on how landscapes could manifest absent of their essential components, the Ether Project transcends traditional representation, inviting contemplation on the nature of existence and perception itself.

Each painting employs a combination of painting and printing techniques that allow for the impression of ink on paper, creating rhythmic repetitions of forms. This process not only highlights the ethereal quality of the works but also emphasizes their transient nature. The choice of inks—those that, when mixed with specific solvents, lead to a breakdown of pigments—mirrors the unpredictability and fluidity of the ether. Over time, these pigments oxidize, shifting towards a warm reddish hue, further embedding the themes of change and instability into the fabric of the series.

Puddles Monotypes, 2019

This Puddle series starts by designing coloured swamps in the studio in PVC containers, recreating and forcing what sometimes happens in rare natural situations. as they would reflect the light of an impossible environment. Afterwards, By soaking for weeks the paper into this solution of ink and water, patterns and colour tones are generated as water unevenly evaporates and ink concentrates. This paintings record the disappearance of the puddles using colour.

RED PUDDLE (FLESH TRIP), 2018

ink, pigments on Xuan paper mounted on canvas, light and stage design.
screen installation, 10 moveable panels, 200 x 100 cm each.

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RAUMFAHRT, 2018

ink, watercolours on Xuan paper glued on walls
paper immersive installation, 250 x 3000 cm

Imagining to lift up the whole room in the space, the painting suggests a skyscape which gradually rip apart, opening up a void. The bricks of the wall are visible through the transparency of the Xuan paper, revealing in this void the real space in the room. The installation is inspired by an ancient alchemic painting representing an epiphany: something unknown which burst through the sky, tearing it off. The lighting has been designed in collaboration with the sound and installation artist Olaf Schirm.

Installation view at Alte Münze, Berlin, 2018

AZOTH NEBULA, 2017

Azoth Nebula is a polyptych freely inspired by archival images of astronomical events. Azoth is a specific nebula which, due to its dubious nature, presents a unique combination of colors, whose frequencies are tranlslated, by our technical instruments, in subtle variations of a greenish-blue color. The division into panels suggests, almost cinematically, a passage in time that has taken place and was not recorded. 

ROCKSCAPE, 2015
Artist book - Published by Como Ediciones, London - Barcelona
Introduction text by Josè Louis Pardo