dark room

exhibition project – work in progress

“It’s as if everything moved at the speed of a plant. It looks still and instead moves. Because it’s alive, but calm, in harmony with time. World time is made for plants, not for us”.


I like watching the world, people, what’s happening. Particularly the details of things, such as a mouth, a plant or a curtain that the draft of a window moves slightly. I would like more to see all this without being present, being ethereal, regardless of time and space. It’s a bit like looking at something from the keyhole. This desire is the theme of my investigation. My research aims to open up glimpses that allow us to see the essential without being present. See without being.

As I said, I like to look at people, and I also like to draw it. After years of passionate realistic approach to the human figure I felt the need to get a synthesis, only what is important to me. This need for essentiality was (and still is) the need to reproduce the subject in a short time. This is because bodies move in space and I want to grasp the fundamental moment, that subtle and impalpable moment between past and future action. To do this I began to develop a technique that would allow me to portray people in a few seconds. With practice I have refined my skills and over time this graphic research has merged into painting, driven by the curiosity to see the result of the union between my sign with the material and the color. Since childhood the use of colors has never intrigued me, so I soon returned to the monochromatic approach; As an artist, I need to set different limits to myself, too much freedom confuses me. So here is the choice, always open to new suggestions, of my material: black paper, square and therefore always straight, white acrylic plaster for the base on which to draw, black pen. It’s possible to divide this research into several consecutive phases. The first phase is what I call LINES, in which the subjects come from the outside world. The second phase, SHAPES, is a union between the habitable spaces suggested by the spots and the subjects belonging to my inner world. The third phase is called EXTRUSIONS, and it’s the one I’m in now. Here the subject is expressed completely by the stain. My job is to make it more visible, extrude it, so, and in a certain sense it is precisely with the extrusion that I justify the need to do my research on sculpture and collaboration, for this event. Looking back, I see how the history of my research increasingly assumes an identity of its own, independent of my will, and this gratifies me because, as a person and artist, I am perhaps working on something pure, detached from cultural structures and criteria.

The inspiring elements of this research are astronomy, physics, good books, good films, good drinks in good company, but also, without a doubt, M.C. Escher, visionary and revolutionary illustrator of the twentieth century, who, I feel, was able to represent space-time on paper, and with him many other masters and friends, present and past.

Dark room, Antony Risi