His works pose questions that do not have any certain answer
Even though they were created in different places and periods, Andrea Pirani’s works share a common thread. As a fact, although his modes of and needs for communication have changed with the passing of time, his approach, which may even be called “his curse”, has always revolved around the same themes: the meaning of our journey and of the greater plan (if it exists), and man’s need for an (irrational?) aesthetic contamination by harmony (Kandinsky, Goethe). These motivations demand transcendence, which the artist perhaps pursues by following Eliot’s birth/death/ rebirth model in tune with Yeats’ search. Whereas we cannot actually be sure of this, facts prove Pirani’s fascination with the ideas of great thinkers such as Rudolf Steiner, Thomas Stearns Eliot, Fernando Pessoa and William Butler Yeats. With respect to Yeats, references to his thought also remind us of the main theme of an exhibition that has just ended in Paris: “La metafora dei coni rotanti” (“the metaphor of the rotating cones”), which was curated by Michele Ciolino and took place at Mizen Fine Art Gallery.
Symbolism and aesthetic harmony are the heart of the artist’s inspiration and pursuit of transcendence
The exhibition fully encapsulated the aforementioned motivations, revealing Pirani’s constant search for aesthetic harmony, but with a prevalence of symbolic representation if compared to previous exhibitions. This made me aware of how difficult it is for an artist – who, in order to find peace, has to channel his mysterious inward nature into matter – to succeed in thoroughly investigating the causes and consequences of a symbolic reading of the world. How do we conceive symbols and the things they refer to? What is the nature of the link between symbol and symbolized object?
Facts reveal the influence of thinkers and poets such as Steiner, Eliot, Pessoa and Yeats
How is it possible to rationally explain the deep twine that is created between the world and its representation? The only certain thing is that, thanks to William Butler Yeats’ influence, Pirani answered to his own secret inclinations by moving away from a rational and Cartesian conception of the world. Even his “curvatures” (which characterize the works he exhibited in Paris), when they are considered as extremities to be tied together, symbolically recall Steiner’s “divided mind”.
La metafora dei coni rotanti is the title of the exhibition at Mizen Fine Art Gallery in Paris
What is it that we really want to reunite? Is it our two apparently separated brain hemispheres, or our circular concept of life, or both, or the light and shadows of Yeats’ rotating cones? Perhaps it is the symbol that actually allows for this approach, which, on its turn, could lead to deep meditation on our backward journey (for instance, towards the father’s house, as in Steiner’s Christological vision). These questions do not have any certain answer, and perhaps it is thanks t o this lack of answers that Pirani can continue his search, in the awareness that, after all, achieving the longed-for objective is not more important than the desire to always take new roads to achieve it.