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| The Vase and the Leaf - 2010. Implementation / Made by : Christian Fasano Metal and Ceramic / Structure in metal and ceramic diam. Max. cm.108x255h |
Tarshito (Nicola Strippoli) has a particular kind of architect, designer and performer. His commitment to follow their own pathways in the creative world of art, like a stream that explores unexpected territory and collects tributaries becoming stronger, carrying in its flow inspirations, experiences and different fragrance, which delights in sharing. There is something in Tarshito Renaissance intellect that sun that brings thousand seeds to bloom, drafting a Soul tune Mundi which develops in a workshop of achievements, when many artists and craftsmen involved with their talents, beyond any cultural barrier guessable. That's Tarshito Group is an orchestra, a community of purpose that transcends the solitude of showing that we are the world. We are the world, implying responsibility for awareness creation, and union. Realizing this, poverty does not empower the individual, nor the complaints: there is so much to explore, create and share.
Develop new visions of the world is the highest task of art, built using expressions thoughtful and inspired. If this occurs, the architecture of the intangible spiritual inform the terrestrial architecture, creating a new world and more vital. Architecture is etymologically and symbolically in Earth science to establish the vertical pillars that evoke the sky, and has in it the sense of sacredness, a payment between the human planning, the laws of Nature, and climb the freedom of the Spirit. It is not a question of proportion, but a stream of inspiration and construction ranging from macro to microcosm, as Nature shows us that builds with the same perfection that is great as the body so minute as to be invisible to the eye. So the magic of a cathedral is not greater than that of small wax Tarshito architectures, in which the organic material and soft highlights the imprimatur essential to impermanence. In life nothing is permanent, everything is in flux, and thus the work of art that stands firm, which gives an impression over, it is not art, it is not existential. Striking examples of this we, as the eternal construction site of Gaudi's cathedral, which opened a few days ago but formally free from conclusion, and indeed any work of art, whether painting or sculpture, or whatever, it must maintain a voltage dynamics, an inner life that is filled from the stream.
I believe that it is this understanding has inspired Tarshito to develop consistently the topos of the vessel, object open and full of references symbolic. The vessel is always potentially pregnant women and, above all full of space. It is a container, but in a symbolic sense, not merely functional: its task is to enhance the space, as well as enhances the body's soul, allowing her to experience. The Platonic sense of the body as a prison of the soul is in fact erroneous and negative life comes to be, but the perception of the body, land, must remain open at the top to accommodate the vast meditative, as in the vessel. This is Vasus alchemical interrupter which can be accomplished the miracle of Revelation. Its matter how precious it is humble, and it shows Tarshito with fine carvings of materials, finely textured color, embroidered with symbolic, sometimes infused with touches of Zen free. The vessel is the womb of Nature, as she filled with changing expressions, figures, dreams of poetic creation, so the story is a tangible metaphor for the content and inexpressible.
The artist himself is a pot full compliance receptive As transmission. Tarshito of what was invested in full and, as he said himself, he strives to seek "the crucible of ancient knowledge and wisdom to bring all this and more in Art".
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