I luoghi del sensibile L'esperienza dell'arte come luogo, luogo mentale e luogo del visibile, luogo della forma e del gesto, della parola e del pensiero, pervade l'opera di Filippo Patella.
Mai luogo del vuoto né dell'assenza, l'arte non è per lui pura idea astratta o mera raffigurazione del reale, ma è piuttosto pratica vitale.
Una pratica complessa e articolata connessa ad una ricerca più che ventennale the mandala. Mandalas are symbolic representations that have complicated an infinite variety of shapes. Mandala means circle in Sanskrit, but not only forms the mandala, in the recruitment of many symbolic meanings, are geometric projections of the life process of the universe, representations dell'ininterrotto flow of cosmic time, paradigms of evolution and involution of the world .
In certain religious practices or in psychology, the circular mandala images are drawn, painted, shaped, variously drawn (Figures dance mandala dervishes perform in monasteries), helps meditation and concentration. The Jungian interpretation
them as figures of thought, images reached the equilibrium. Marked on the ground and used as a plant for the construction of buildings, the mandala is a sign of perfection, a source of energy, where the union of circle and square is used to enclose sacred spaces and views of reality. For Philip
Patella, the mandala is the sensible place and place of reality, new dimensions of Being in search of itself, producing forms as well.
Built in the process of aesthetic education, it is grown as a discipline of design and expression together, place in the mind, heart, body artist.
"Make a mandala is a ritual," says the artist, expressing close to the ritual of doing the will of ricomporne l'unità creativa di teoria e prassi nel nome di una corrispondenza tra fare e ideare, agire e progettare, che diviene cifra stilistica connotante tutto il suo lavoro.
I mandala di Patella, sfruttando tutte le possibili figurazioni che cerchio e quadrato suggeriscono, propongono una grande multiformità di tracciati e pervengono spesso alla circonferenza centrale attraverso poligoni regolari, forme a croce, a stella, simmetrie radiali, etc.
A volte gli schemi compositivi assumono ritmi rotatori di complementarità e d'alternanza, sino a creare giochi ottici ed effetti percettivi ambigui.
Complessa appare anche la tecnica esecutiva caratterizzata da una variabilissima sperimentazione materica. Difatti, con grande disinvoltura, l'artista passing from one material to another, diversifying the use of strategies that add to the paint pigment refined technique of mosaic and involving - without exceptions - remains natural (raw or treated), fragments of glass, milled powders and bonded with epoxy resins , pieces of Murano, local marbles, stones and multicolored chips ... Read
transparency of bodies mysterious protruding roughness of irregular cubes, fleeting reflections of multicolored tiles: the careful work that makes the surface rough and porous current plans, now shiny and smooth, now sharp, incised, carved or soft gold, creates involving tactile effects. Added to the perceptual effects produced by doses of calibrated color contrasts of timbre or tonal wide agreements, which explode and implode the diagrams of an accurate visual layout.
The overview of these tracks mandalic shows, therefore, all the rigor of the serene visual matching of forces between the suspended vital concern of material research and thought-space of formal paths. Maria Vinella
Mandala
27 years I work on the mandala. I started in 1969 to study the ancient Indian philosophy and I immediately confronted with the psychological issues of the mandala. Since 1976 I have made each year, systematically, one or more of the mandala, with different artistic techniques: painting, intaglio printing, mosaic.
My words will not help much to explain what it means to make a mandala is a reality that can not be translated into any other form of expression than that caused by the presence of the same mandala made. Words can try to explain the technical architecture (and in the mosaic that is perhaps closer) that I built over the years, as an operational tool: words can even describe what I do not accept rejection and as a person and as an artist; in the end, inevitably refer to the works and only they have been and are my guide.
These lines are a kind of instruction manual for use: the complexity of issues led me to make this little book, according to a formula that unusual, of course, requires a few notes. And
'Some songs, brutally separated from the overall context of the work, prove difficult parts at the beginning: I invite the players not to dwell on the single track, but only on the overall nature of the choice made. From
varied and extensive bibliography on the mandala I selected a few pages of four authors who have accompanied some moments of my research: Rudolf Arnheim, Giuseppe Tucci, Carl Gustav Jung, Georges Poulet.
Arnheim. The choice of the circle to graph the mandala is not an absolute choice on my part: some of my mandala (especially some made in intaglio) have different geometry. The circle, however, because of its shape and the dynamics of expression and perception-related, remains the primary configuration.
Tucci. The mandala is a geometric projection of the world, a cosmogram, and this is its outer form, surface, made by me, the mandala becomes a psicocosmogramma, the pattern of my human representation. My mandalas are the result of a personal ritual, do not follow the dictates of the precise perfect Buddhist masters. On the other hand, the long and detailed descriptions made by Tucci and which I quoted in full, do not belong to me if not for the rigor of formal requirements da compiere. In stretta relazione con questo rigore formale (sostanziale quando si applica alla dottrina buddhista) io ho perfezionato una mia liturgia che mi fa accedere a dei livelli complessi di "fare arte".
Jung. La conformità dei mandala non può essere spiegata. Fossi io un esaminatore attento e particolarmente minuzioso nella ricerca, non riuscirei a stabilire legami tra le parole e la verità racchiusa nelle "opere" che vado realizzando da tempo. Il breve saggio di Jung esaurisce ogni possibile curiosità sulle motivazioni psicologiche indotte dai mandala.
Poulet. «Non le modificazioni di una forma che per definizione non è modificabile, ma i cambiamenti di significato a cui essa non ha mai ceased to provide the human spirit: these are the Metamorphoses of the Circle that Poulet analyzed to discover the corresponding changes in the way of individuals to represent what is in them more intimate, their awareness of space and time. The archetypal form of the circle is taken as the image now unconscious conscious hours of the spatiality of the spirit and traced, revealed, described by all the changes that has been in Western literature and thought from the Middle Ages to contemporary poetry. "
My classical training has given me the authors and the works that most clearly telling stories, routes and human dynamics related to the literary mia storia personale.
27 years I work on the mandala. I started in 1969 to study the ancient Indian philosophy and I immediately confronted with the psychological issues of the mandala. Since 1976 I have made each year, systematically, one or more of the mandala, with different artistic techniques: painting, intaglio printing, mosaic.
My words will not help much to explain what it means to make a mandala is a reality that can not be translated into any other form of expression than that caused by the presence of the same mandala made. Words can try to explain the technical architecture (and in the mosaic that is perhaps closer) that I built over the years, as an operational tool: words can even describe what I do not accept rejection and as a person and as an artist; in the end, inevitably refer to the works and only they have been and are my guide.
These lines are a kind of instruction manual for use: the complexity of issues led me to make this little book, according to a formula that unusual, of course, requires a few notes. And
'Some songs, brutally separated from the overall context of the work, prove difficult parts at the beginning: I invite the players not to dwell on the single track, but only on the overall nature of the choice made. From
varied and extensive bibliography on the mandala I selected a few pages of four authors who have accompanied some moments of my research: Rudolf Arnheim, Giuseppe Tucci, Carl Gustav Jung, Georges Poulet.
Arnheim. The choice of the circle to graph the mandala is not an absolute choice on my part: some of my mandala (especially some made in intaglio) have different geometry. The circle, however, because of its shape and the dynamics of expression and perception-related, remains the primary configuration.
Tucci. The mandala is a geometric projection of the world, a cosmogram, and this is its outer form, surface, made by me, the mandala becomes a psicocosmogramma, the pattern of my human representation. My mandalas are the result of a personal ritual, do not follow the dictates of the precise perfect Buddhist masters. On the other hand, the long and detailed descriptions made by Tucci and which I quoted in full, do not belong to me if not for the rigor of formal requirements da compiere. In stretta relazione con questo rigore formale (sostanziale quando si applica alla dottrina buddhista) io ho perfezionato una mia liturgia che mi fa accedere a dei livelli complessi di "fare arte".
Jung. La conformità dei mandala non può essere spiegata. Fossi io un esaminatore attento e particolarmente minuzioso nella ricerca, non riuscirei a stabilire legami tra le parole e la verità racchiusa nelle "opere" che vado realizzando da tempo. Il breve saggio di Jung esaurisce ogni possibile curiosità sulle motivazioni psicologiche indotte dai mandala.
Poulet. «Non le modificazioni di una forma che per definizione non è modificabile, ma i cambiamenti di significato a cui essa non ha mai ceased to provide the human spirit: these are the Metamorphoses of the Circle that Poulet analyzed to discover the corresponding changes in the way of individuals to represent what is in them more intimate, their awareness of space and time. The archetypal form of the circle is taken as the image now unconscious conscious hours of the spatiality of the spirit and traced, revealed, described by all the changes that has been in Western literature and thought from the Middle Ages to contemporary poetry. "
My classical training has given me the authors and the works that most clearly telling stories, routes and human dynamics related to the literary mia storia personale.
Filippo Patella
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