"the name of the field ... covers everything ... that we know and conceive. "
G. Leopardi
Thomas Didymus did not wait until 2010 to clarify its position and "anachronistic informal" if you look closely, in fact, already in the Rape of Ganymede (which is proudly displayed on the cover of our volume), this is poetry in the round, however, proceed with order quickly summarizing the history of this young artist.
Before 2007 the production of our stands in an unequivocal sign Informal; Didymus immediately after handling a "semifigurazione" which is undoubtedly the prelude de ll '"Informal Anachronism" and after a' last 'excitement abstract, the artist, in 2009, landed triumphantly on ground of his new poetry.
Why "anachronism" and that "informal"? 
We start from the adjective vo , whatever the position that Didymus is carrying out a fixed point, a pole star, remains a matter of whooping, rich, exuberant, deliberately not wanting to settle down to the inside of a "form to completion". All this would seem to remove the artist from the known forms of anachronism, if it was not considered possible declination Didymus "heretical" such an artistic phenomenon, but on this we will return. Perc hé therefore "anachronism"? The answer is simple; Didymus has no place in any form of spontaneity or "primitivism". The painting is of our "educated" and, as such, fits perfectly within an anachronistic choice. The callback or myth, the museum, and literature are, in fact, constant Didymus, think of the already mentioned Rape of Ganymede, yet you look at the God-Demiurge , at the 'Elephant to Builder etc.. What is the function of myth in painting Didymus? The reinterpretation of the myth of the artist is to revive the link between their research and history. It necessarily follows that, as with all anachronistic, even for our black beasts remain Dadaism and Futurism does not mean completely disengage the legacy of avant-garde art. The very fact that the artist moves in the "disintegration of the form "shows that his gaze is not directed academicism, on a point, however, differs so much from the Twin Prime vanguard of those refusing antireferenzialismo. Let us dwell on this pun to .
All'antireferenzialismo Didymus outrageously opposed to the referential, the work of art, fact, even stand on their legs, refers to what lies beyond its borders. Think to 'Elephant a framework deliberately based on a novel by Saramago, let us consider the Of or -Demiurge that comes from a meditation on Marcion and the Gnostic theology of the great heretic. The referrer enzialismo Didymus does, however, fall into the quicksand of illustration, the evocation of myth and literature review to push the artist in his own way t ll tell them to meet and fall in of their own imagination. Take the aforementioned Rape of Ganymede, the artist would have been able to approach fix, and instead take another route, that of terror. The entire framework revolves around the eye dell'Efebo upset you see washed away by the rapacious and that still does not suspect the fate of his wonderful immortality and happiness. Why do we insist again, the myth is so central to Didymus?
For the painter the myth is the seal of Otherness , Duchamp is not only to be the bane of our; to tThe the bicycle wheel approaches also Pop Art and his idea of \u200b\u200bart resolved on the ground of everyday detritus. As a good anachronism, but the artist believes in destiny vertical art; fate eloquently extolled by the magnificence of the painting and the choice of a chromatic dense and vibrant. This serves to emphasize the irreducibility of art to reality , especially to the reality in its most vulgar and abandoned. The vertical calismo throws but not between Didymus arms of transcendence, but he sees his research anchored to a specific materialist philosophy; we return to the adjective "informal".
The "god" of Didymus is the matter, a matter of undisputed daughter Painting Action and the Informal Town. It follows that the matter grow more frantic lib steep, freedom implies then that the matter remains in a "disorganized organ 
polarized", ie grow the project to remain in a state of chaos from which, however able and emerging recognition domineering personalities and events. They, whoever they are are as escrescen ze of matter itself, this logically, if it is to conjure up stories, can not stay at the inside of an absolute indistinct, but must be recognized. Here, then, among others, the case of Turpissima Beast, which Didymus? Rend the Dying Slave by Michelangelo his monkey and put it in the middle of their work. In this way our exhibits all its hostility towards idealism running from Plato to get asceticism of Mondrian and the reductionism of neoavanguardia masochist. We conclude our analysis emphasizing the philosophical implications of the artist's research.
The matter therefore resolves itself into being; is for this ch and in Didymus does not face God, but the look of the characters or other fabulous intrinsic ecamente pagans. The "death of God" does not mean the imaginary and silenced of telling stories to the contrary. If, as Albert Camus said, the world is what it is, man is p r and or a creature who overwhelmingly want that the world is not what it is. For ours, such a desire finds its outlet in painting exciting, and the delirium of the mind is then cleaved by "dirty hands" to which the painter intended. For the umpteenth time is D u champ and its reduction of art to concept, that are facing the arrows of the controversial young author, the painting went out of his odyssey? Perhaps, a Didymus, however, not interested in the future, here and now is painting that has to so. In addition to Duchamp, as an object to be controversial, the artist also chooses Giulio Carlo Argan, it is not true that the shock Informal perceptual consequences and does not leave is lost and if this is true, we think the anachronism block such a diaspora. Argan concludes that, with the informal, the image on the canvas corresponds to the immediate precipitation of the inner life. Thomas Didymus agree, however, recalls and reiterates that such a "precipitate" is organized by calling (again and always) to the wealth of history and the museum, the great "database" in which the artist refers to conquer himself and, at the same time to let the user within that circle of art that our aims are absolutely true in his flesh and shining lie.
Robertomaria Siena
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