Davide Tedeschini - Lettuce

The aesthetic gesture and the primordial sign An encounter with Davide Tedeschini's new works.

Art is a visual experience. A maieutic of thoughts and emotions, generative of gestures. As we approach a work, a bouquet of other senses gradually opens up, unconsciously activated and rekindling the human root of our encounter with beauty. There's a moment, the encounter between the work and our gaze, in which expectation merges with reality, then merges to generate infinite new interactions. The first possible interaction is between the archetypal forms present in our mind and what the artist has imprinted on the canvas. A historical memory inscribed in man's unconscious heritage and the artist's gesture, a human act qualified by the will to produce a sign. Within this framework, the anthology of new works proposed by Davide Tedeschini enters into a semantic dialogue between past and present, between memory and actuality, between unconscious and conscious. To experience his work means running the risk of an ever-active process of confrontation between distant and distinct yet always communicating dialectical forms. The atavistic, phenomenal gesture and the noumenon incorporated into our understanding of the world. An aesthetic gesture rooted in the primordial sign. Sometimes expressed, sometimes veiled, mediated, but always instinctive. At once meditated and immediate. Meditated because the mind, with its speed, imagines contemplating it, but immediate because the hand unleashes its creativity, encountering the porosity of the canvas and the viscosity of the paint. Thus, in Davide Tedeschini's painting, the dialogue between man and nature is captured in a nuanced way, as in Quercia (Quercy) , where the tree is interposed with the trunk of a carcass, of which only the ribs remain. Or like in the Wheat Field, where sturdy cereal stalks juxtapose with primordial spears planted in the soil. Even where the theme may seem present, the gesture is ancient, primal. A contemporary journey into humanity's earliest times, when art was taking its first steps. Showing how the ever-evolving artistic process does not forget these origins. The motive remains unchanged: to leave a mark, to tell a story, to get one's hands dirty, and to inspire those who encounter those traces. Upon closer inspection, Davide Tedeschini, an eclectic artist capable of surprising, follows the path of art through time, with a journey that passes from the body to nature, from man to other forms of living beings, without ever forgetting the alphabet of emotions that each of us has inscribed within us from our first steps in this world.

Painting is a possible answer to two of the existential questions that have always haunted humanity: who are we? Where are we going?

We are the authors of those signs, we are accompanied by the same fears, the same hopes. We are moving toward a future we can only predict.

We have no established certainties. Only convictions. In a highly complex society, where language has broadened horizons and communication has become more difficult, the simplicity of Davide Tedeschini's artistic signs seems reassuring: universal traits, comprehensible signs in the Babel of hypercommunication. They interrupt the flow, allowing us to move forward more quickly. And in the meantime, they prompt a quick and unexpected reflection: do we still know how to look? The answer is the question that remains open to the viewer's choice. Art has both an aesthetic and a social function.

Beauty and community. Taste and encounter. Sharing, dialogue, recognition. It activates ongoing processes. The journey is long and marked by various steps, by constant choices, by ever-present opportunities: it requires eyes, mind, and heart. Ultimately, every time the day ends, we simply want to return to our reassuring shelter, and, as in Strada per casa, every detail, every sign leads us back to our original refuge: yesterday a cave, today a home where works of art can remind us of this journey.

by Davide Miceli

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