Curated with works of the Series „Order & Disorder“
Curated by Daniela Ilieva
The Mind's Eye
Attillio M. Varricchio’s compiled works showcase his diversity and his distinct approaches to transferring his artistic visions to canvas. He successfully manipulates the laws of physics with his playful juxtaposition of geometric shapes in works like Optical Dreams.
Optical dreams, 2008, Optical Dreams #2, 2008, Geometrical Drops, 2008 und Pseudoplasticita geometriche, 2016
Special Waste, 2015, Christ War, 2015 and Wonderful World, 2016
He uses photocollage and digital overpainting to create fantastical worlds that address the “ghettoization of contemporary history” in works like I`ve Been Here, Who´s Going to Tell my Story.
L.: Self Portrait, 2015, , I`ve Been Here, Who´s Going to Tell my Story, 2015, Arbeit macht frei, 2015 und Safe Walk, 2015
One work, however, embodies all of these messages that Varricchio strives to convey: When You Can’t See the Happiness, Look for It Inside. A photocollage and digital overpainting of one of Naples largest urban housing projects, it elicits sentiments of decay, abandon and failed dreams. It invites the viewer to cross a threshold into an impossible realm twisted upside down and sideways in defiance of gravity and logic. It allows the artist to create in a way that is limitless and unbounded.
When You Can’t See the Happiness, Look for It Inside, 2015 and Wonderful World, 2016
Across Space and Time
The Vele di Scampía housing projects in Naples, Italy started off as a pipe dream. A vision for creating public housing that was affordable and representative of the new principles for social housing envisioned by Le Corbusier. However, natural and social disasters resulted in demolitions and invited squatters. The dream development became the perfect haven for crime, drugs and gangs. The kind of ghetto emerging in cities across the globe that Varricchio incorporates into his art.
Neon City, 2014 and Third Group, 2014
In When You Can’t See the Happiness, Look for It Inside Varricchio once again employs the familiar photocollage and digital overpainting technique using images ofthe housing development. Though the pieces of the collage are recognizable as photos of Vele di Scampía, their positioning on the canvas results in the creation of a completely made-up and fantastical world, one that follows its own laws of spatial reason. And reminiscent of his Màdi paintings, we see his penchant for geometry in the arrangement of the individual images in a downward extending spiral, one that draws us into an unknown abyss with invisible depths.
When You Can’t See the Happiness, Look for It Inside, 2015
The Eye of the Beholder
Though the secrets hiding in this chasm might be a mystery to the viewer, they are most certainly visible to the eye that Varricchio has created by conjoining these images. An eye nestled in a dark void, eerily echoing the empty socket of a skull. A fitting symbol for the death of a dream of better living and social equality.
But what else might the artist, a trained ophthalmologist, want this eye to express? As an eye surgeon, Varricchio knows that the pupil’s purpose is to regulate the amount of light that enters the eye. That its rim is encircled by a bold message in yellow: When you can’t see the happiness, look inside is a reminder. We are in control of how much darkness envelops us and how much light we permit entrance.
Out of the Darkness and Into the Light
One might perceive the reappearance of the skull and its association with mortality and temporality as a suggestive harbinger of doom and despair. However, Varricchio’s final message remains one of hope. We only need look within to find the happiness and the light.
Self Portrait, 2015