ProjectB is pleased to present the first
solo show by the young Italian artist Tindar.
Eighteen works that reveal true
research on the discovery of the being and origin of civilization; hence the
title of the exhibition, Aletheia, from the Greek truth, unveiling but also and
above all revelation of the state of not being hidden. The non-ordinary vantage
point from which to observe things, and the resulting intuition, at the origin
of all the works in the show.
“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.”
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
(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