ALETHEIA (αλήθεια)

“Just as I observe a tree and try to imagine its roots, so I observe a leaf and its mysterious shadows. Concrete, silent, powerful substance: this is what nature has to teach me, to which I bow.” 

- Tindar

A representation of the importance of the relationship between nature and truth, expressed through various techniques, from pencil to charcoal on the pages of antique books for the Radici, to the works imprinted and repeated a thousand times, in an almost sculptural gesture, in the Tracce all the way to the Teatri delle Ombre.   

“Nature conserves all that she has carefully concealed, unless one is willing to look at it with reverence.” 

- John Ruskin

ALETHEIA (αλήθεια)

The Radici (Roots), the visual representation of what cannot be seen, start from a reflection of the artist on culture, on our identity as living beings, men, westerners. Tindar uses them as a symbol, drawing them on the pages of antique texts personally researched, which form the basis of our civilization and culture: Orlando Furioso, the Divine Comedy, or the sacred texts of the three great monotheist religions.

To make the works in the Ombre (Shadows) series, on the other hand, the artist relies totally on nature, searching in intact leaves and their unaltered beauty for a secret and marvelous epiphany of the not being hidden, the shadow, that reveals itself only in the moment when he stops looking; because it is only by not expecting anything specific, but keeping the mind open, that it is possible to find what is hiding in things.   

“Only thanks to this work have I managed to understand something Picasso said: I don’t seek, I find.”

In the Tracce (Traces), finally, fingerprints are a true allegory of the Self. A series developed around the uniqueness of our fingerprints, imprinted with ink on paper and repeated in an almost sculptural gesture, a thousand times per painting to recreate the specific form of each one. The micro of our simple fingerprint that forms the macro of an ephemeral form, allegory of our Self, which repeating infinitely demonstrates its lack of consistency.   

THE TRACE PROJECT

Starting from these first works the artist has given rise to a new meaning for the series, The Trace Project, a project where art is at the service of man to bring direct help to the migrants of Calais, a tragically timely case. Tindar, since November, has personally gone repeatedly to the refugee camps to gather 6000 fingerprints made by the refugees themselves, of any race, creed or religion. A gesture of awareness where for the first time the migrants are asked to make a contribution, instead of being asked for fingerprints as a means of identification. Imprinted individually, this time, the 6000 fingerprints will form a new large work to counter those individually represented by Western man, proposing an awareness of the boundless grandeur of our Self.

www.thetraceproject.com