Raffaele Quattrone

Alessandro Moreschini

 

If many artists have been very important in my “art education” as models or masters, many others have been important travel companions. This is the case of Alessandro Moreschini whom artistic practice I have been following since many years.

The French sociologist Yves Michaud says that contemporary society is characterized more and more by a general aestheticization of everyday life to the detriment of the previous ethicsization of social life. In other words, the interest for beauty in all its forms (aesthetic) is permeating all areas of our lives dozing our social responsibility, civic engagement, social duties (ethics). In his artistic production Alessandro Moreschini gives shape to an artistic practice that I called "aesthetic commitment" (estetica dell'impegno): the endlessly repeating patterns as in the industrial production stifle objects and paintings by biomorph decorations as a revenge of nature on man or the manual on intellectualism. Colors deliberately artificial betrays an artistic and social analysis preferring to play with the aestheticization of social life through its same media. In this way the symbols and signs from West and East, the cultural and industrial, iconic and un-iconic, contemporary and historical heritage are centrifuged and processed in interesting textures covering these paintings and objects freeing themselves from their human and real dimension.

Moreschini's hyper-decoration reminds of motifs typical of Islamic tradition where the art or the beauty is not considered a luxury good but a quality of God (one of the epithet of God is in fact al-Jamil meaning "beauty") and for this reason is ubiquitous throughout the daily life: in the calligraphy of writing, in the architecture of the buildings and interiors, in the carpets used in prayer but also to sit and rest. Beauty aids the concentration, to feel closer to God, to find a sense of peace and joy. Moreschini draws on this tradition by mixing, integrating, harmonizing it in the Western culture imaginary.Alessandro Moreschini's practice is another example remembering that painting can be an interesting way to express contemporary themes.

 

 

 

www.alessandromoreschini.it