* The works of Thomas Didymus event "The Song of the Siren", refers to the artistic production of 2009 and have been widely discussed and theorized by Professor Robertomaria Siena.
Thomas Didymus and the 'Informal Anachronism "
Research has always been for Thomas Didymus, the North Star to look with constant fidelity. From this fact arises that we can easily define the "revolution of 2009." What is this? Didymus has until now (happily) ranged from an informal practice and a perfect pictorial semifigurativa. Now the young artist throws himself to the user and the challenge of 'Informal Anachronism. We start from the adjective, the painter remains true to his old love for the Informal and Abstract Expressionism. This preference is rooted, as we have said many times, in a radical anti-Platonism, there are the "real world" and the "apparent world", the "apparent world" resolves itself being in its totality. Leopardi our claims that everything is matter and that the spirit, if it exists, is only another name for the area. In turn, the field is unstable, dense, opulent fascinated by his own physicality. We can talk about life force Bergsonian provided, however, that we realize that the painter correct the great philosopher Francesco. Bergson says that the vital force is the consciousness that goes into the matter and the organization. For the artist, on the contrary, consciousness is matter and, outside of matter, nulla salus. That said, let's see how the material behaves evoked by Didymus.
What of the substantive reasons "Anachronism"? It 'easy to say, the anachronism is when they get in the field of myths and gods. Look, just to give one example, the "God-Demiurge," an obvious homage to Marcion and his heresy. Here is a God, although he
Abortion is the creator and operator of evil, hence the anatomy of this imbalance to be devilish. So, in the Twin, the matter in its convulsions, secretes the gods; they, in turn, is never separated from what originated them. From this point of view, our position is heretical against that of Giorgio Dante's brother, Thomas Didymus. It follows the original treatment of anachronism and staff of the painter, the question Central is precisely that of matter and form. Dante, as "anachronistic Orthodox" is a student of the absolute form, his paintings, in fact, is a glaze that is enchanted with a single body 'idea that is both dream and Paradise of the Senses. The memory and the museum also holds between the two of them brothers, in addition to museum literature, it is no coincidence that Didymus, with his "Elephant" pays tribute to Saramago. It follows the refusal dell'antireferenzialismo and recovery of the "infamous" paint-union literature does not mean, however, for the painter, a total departure from the tradition of avant-garde art and its suggestions of Action Painting. It 'also Surrealism In fact, looking as it is the vision that is constantly working. That said, however, we have exhausted the subject. The celebration of the material also serves to refute the "strategy of impurity", the "strategy" that has stretched and tends to wind up the painting. In this sense the position of Didymus is quite radical, and the primacy of painting through the kit, once again, the show found the body of painting which throws in my face to the user's own skin and their bowels. A painting that, while cultivating the beauty without any shyness, this is certainly another factor that leads the artist inside the 'anachronism. In this so there can be no misunderstanding: the dream, the beauty, the fantastic and the characters are well defined as they are, real entities and bodies to the square. The conclusion is that Thomas Didymus, art is not an arabesque abstract art is actually very real, that is the only solid truth which we can access, all this, not surprisingly, is that "religion of art" that is the cornerstone of the philosophy of anachronism.
** For further details are available other critical texts in the "Critical" in the upper left.
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