Maurizio Barberis
Resonances
for a geography of the soul
‘...a music of space, a music whose development is within us. Music, not only because of the gift of harmony, the secret of associating the elements of tone and line, but because of the virtue of prolonging long echoes, of widening the limits of life, of multiplying its distant resonance...’
Echi
“...Sweet Thames, run softly, till I end my song...”
The echo then produced a kind of splitting of the image, a resonance of the Figure that thus became visible, a participant in the world of things. From this phantom of the Figure, the most elementary and the most disturbing evidences were generated, placed at the threshold of a hidden realm. How far, then, could the resonance, the echo, influence the approaching of the Ego to the Self, the uniting of the Figure with its archetypes, that hierogamy of light and shadow that brought about a new unity of soul and spirit?
The echo always proceeded by filling a void, a slight detachment from the Figure first, occupied by that Memory of the Self that operated from within the Anima Mundi, to finally transform the individualisation of the Figure into the Rubedo of the Work.
From this process, from this emotional ‘transference’, arose that form of total adhesion to a poetic invariant that structured the figural constant, the manifestation of a Poiesis. Through the infinite resonance of this archetypal model, of an unconscious open to the reality of the spirit, the world of the shadow ‘synchronically’ determined the light of the figure, and thanks to this process of Mimesis, reflection or echo of the shadow in the light of the active consciousness, the spiritual journey towards the death of the Ego, towards the Self of the Hopera became possible.
Risonanza prima
Les magiciens
‘... the woman bore him seven children, three of whom died at a young age...’
Risonanza seconda
Kepler
‘... his speculative madness drove him to search for the Harmonices Mundi in the path of the planets, associating musical intervals with the relationships between their distances from the sun...’
Risonanza terza
On the tight sight
Sketch book
Sketch book: the sketch as an unfinished work, standing before the work, pre-figuring it and announcing it at the same time. The unfinished work asks the observer for an effort of vision, the creative effort needed to imagine the whole figure.
Instead, to be able to describe a reality beyond that perceived by our five senses, an ultimate, final reality that is found at the end of every experience.
The camera becomes like a prosthesis, capturing what we perceive but cannot see.
Thousands of photos, thousands of drawings. But what is the point of it all? To describe, to interpret, to change, to kill reality? But does reality really need us, our photos, our drawings, our little icons?
And then, what are we talking about? The objective, statistical, mathematically demonstrable reality that applies to everyone, to an Eskimo or a pygmy, or another reality, more individual, more like the dream of a single individual?
I had a dream, a strange dream......Only prescience can help us make this elusive dimension concrete.
Dreams are part of this reality, of our reality. Where else could they come from, from our minds? Who or what produces the dreams that are scattered around the world, helping us to survive by confusing us? Are dreams not by chance the expression of a will to perception of a higher order, which transcends the logical order semantically arranged around us? Can dreams, if read correctly, not help us understand the meaning of a future happening, destined to come, but not yet among us?
Sogno
When looking at a photograph, we must always think that we are observing an event that has already happened, something that belongs to the past and no longer exists, except in our mind and in our gaze that brings this thing back to life every time we find it in front of us. An event that existed for a fraction of a second, determining an infinite number of events following i
Uniqueness of the event and its unrepeatability. What happened once is the sum of many facts that can never be repeated the same, even if we wait for thousands of years. The image we are looking at is always a unicum.
‘...I had a dream: I saw Matisse with an enormous camera by the side of the Magnus brand, which had the extraordinary power of reversing the process of transforming reality into signs, that is, it transformed signs into reality. In this way, the image ceased to be a representation of something to be just a pure and simple image. Its value is not given by the object it represents, but by the fact that it is itself an autonomous and self-sufficient object, something totally new that has never existed before...’
Photography thus becomes art and ceases to be communication, allowing the eye and mind to reappropriate the world of signs in all its autonomy.
Risonanza quarta
Tavola delle Concordanze
“...quod est inferius, est sicut quod est superius, et quod est superius, est sicut quod est inferius: ad perpetranda miracula rei unius...”
Risonanza quinta
Terzo Paesaggio
the land abandoned by man
“... A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water...”
Risonanza Sesta
Vasi Rotti
(d’aprés Isaac Luria)
“...there is a crack in everithings that’s how the light get in...”
Risonanza settima
The Tempest
‘...the rising storm puts the soul into action...’
“...this is the end, beautiful friend, this is the end, my only friend, the end of our eleborate plans the end of every thing that stands ................................................... ..................................................
Desperately in need of some stranger’s hand, in a desperate land...”