Da corpo a cosmo1994

" This" theory of the eye "is clarified even more in From body to cosmos of 1994. The film begins with a flight of fast clouds in the sky, with their elusive shapes, which capture and make the smoke of Etna cloud, like if heaven and earth were caught in a single, unstoppable flight. But here it is Mazzoleni's own eye, which emerges several times, that disrupts the visible. Inside and outside are mixed: bodies, totemic and vegetable masks. Reality decomposes, reveals its hidden colors, those that are hidden in the heart of things at the time of creation, according to a myth of Lurian Kabbalah. Clouds, a meadow blown by the wind, the moving shadow of a room: everything escapes again, elusive. But the eye of the machine, but the eye behind the machine, also catches a naked and unarmed eye that appears among things: the seer is also what he sees. I is another. I is also a thing among things. "

( Franco Rella, “Nondove. For Arcangelo Mazzoleni ", in: " Arcangelo Mazzoleni: The world at the focus of the gaze. Films, photos, videos, drawings and mixed techniques on paper ").

“ In From Body to Cosmos the light now has geometric shapes and geometric rhythms on the walls of the room, in parallel strips it runs and defines the boundaries of the house and other places. Figures of time connect and weld together different places and times; memories and thoughts solicit vast spaces for reflection... Here comes the music, its abstraction, its rhythm, its seriality, the informal, the collage, just like a deep sound system inherent in contemporary art ... The musical trend it has a development and a fulfillment like the narration; and to the narrative - not necessarily descriptive - the visionary author constantly refers. (...)

The figures that recur in Mazzoleni's work are figures of the origin: the volcano Etna, the shell, the body, the female, the dove; and beyond: the whirlpool, the spiral, the trapezoid, the triangle. Some terms such as expansion or explosion are just as recurring as the aforementioned figures (…) In the Mazzolenian laboratory there is a scale of color value: blue, red / green, black, purple. There are also intermediate tones born from mixing and overlapping; at the same time a scale of values ​​of presences: the female figure, assiduous recurrence, multiplied, obsessively iterated, the male / female, the man-deer, the dove "sign of revolt, image of fire in the blue of the night", the lava magma of the volcano. "

( Federica Di Castro, "Insistence and seriality in the work of Arcangelo Mazzoleni", ibidem )