Holy Shrouds - Cosmic Eagle

The work of artist Santi Sindoni is connected to the Informal and Abstract Expressionist currents that have swept through Western contemporary art since the 1950s. The devastation of World War II left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge resulted in a total rejection of any visual language, resulting in the birth of Informal Art. The various Informal currents are certainly connected to American Abstract Expressionism, especially in their gestural component, but they go further in their rejection of any figurative element, even geometric. Their exploration focuses instead on the material with which their works are composed. Santi Sindoni's Informal aesthetic draws on the path indicated by Lucio Fontana's Spatialism and Sergio Dangelo's Nuclear Painting, embarking on his own personal journey that will lead him to found the Corrente Escatomateria. The word Escatomateria derives from the Greek éskatos, meaning the last, final destinies of humanity, and aims to transfer to canvas the chromatic study of the cell, the most elementary life form that composes reality in its essence of matter and antimatter. From here, through a journey from the Micro to the Macro, Santi Sindoni seeks to explore, in his works, all the values ​​of existence itself.

The complex aesthetic of Escatomateria developed by artist Santi Sindoni also finds a precise correspondence in the complexity of his stylistic language. Sindoni's approach is informal, yet nourished by a variety of elements and techniques. The space created by the artist is extremely alive and dynamic, made of a shifting mixture of color and matter. In this space, simultaneously biological and cosmic, Sindoni captures the movements of the cellular particles that compose Matter and Antimatter, defining the processes of existence itself. He does so with a refined, vibrant calligraphic stroke, which, by capturing the concentric orbits and spirals of organisms, highlights the energies emanating from them, translating them directly into the viewer's real dimension, in a poetics that draws on spatialist currents. But the peculiarity of Santi Sindoni's artistic work lies in this perfect coincidence that can be felt in his works, between Micro and Macro, between the movements of infinitesimal cellular organisms and the cosmic mechanisms that regulate the existence and destinies of the world.

Santi Sindoni was born in Barcellona Pozzo di Gotto in 1954. He moved to Milan in 1972 and attended the Scuola Superiore d'Arte del Castello Sforzesco. In 1984, he moved to Sicily and continued his artistic career, before returning to Lombardy in 1991, settling in the picturesque town of Luino on Lake Maggiore. He opened his own studio and pursued artistic research tending towards Expressionism and Surrealism, also working on fresco restoration. In 1996, the Varese Prosecutor's Office investigated him, and in 1999, a dramatic turn of events led to his incarceration at the Milan-Bollate prison. In the same penitentiary, he created murals in the treatment area, illustrated the cover of the in-house newspaper "Carte Bollate," and continued to pursue his artistic research. In 2005, he won a competition at the Milan courthouse to decorate a corridor wall with one of his works: a fresco of the Holy Shrouds among works by Carrà, De Chirico, Fiume, and mosaics by Sironi. In 2010, he established the Artè Foundation and in 2012, the Etra Association. These organizations are engaged in social work with the aim of creating the Artè Museum, for which he is preparing studies for a 6,000-square-meter fresco work with glass sculptures depicting the Apocalypse. In June 2015, he completed his sentence and was released. In 2016, the Region of Sicily sponsored the exhibition "Mitocondria," hosted at the former Convent of San Francesco in Patti. Also in 2016, he donated one of his most important and impressive works, "Erhab – 11 settembre," to the National Italian American Foundation. The painting was sent to Washington, DC, and exhibited in one of the NIAF's rooms.

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