FRANCESCA BOGLIOLO - Art Critique
“This is a kind of secret language, made up of enchanting formulas, that comes from even before words, from the time when what men imagined and foretold was truer than real compared to what they saw, that was the only reality.” J. Mirò
Andrea Prand’s artistic work is, first, something that speaks about memory and to the heart. Among the artist’s intentions there is the hidden will to enter into contact again with the most intimate part of man, the one that allows being curious and open-minded like in childhood, free of prejudices, full of possibilities, eager to learn.
The artist investigates the opportunities offered by the technique and its many expressions to activate man’s imagination, to allow him find unstable primordial harmonies, to lead him beyond appearances, towards a relational path that is a metaphor of a continuous and ceaseless pursuit. No problem if we approach the concept expressed in The Apology of Socrates in this process, if we realise, while learning, that we have gained no knowledge: the artist’s prompt response to the impelling inner needs is of fundamental importance, they leave no respite, no chance to relax even at night. Perhaps instead, it is in the dark hours, amid the story plots still to be narrated, that the keys lost by Andrea Prandi are found in a distant time of which the boundaries were also lost and that now end up fading into an equally uncertain future, into a returning cycle, a real common thread of his artistic production. The darkness precedes and keeps the pure seeds of the conscience safe, like in winter: it is with this, and with the difficulties it contains, that the conscious need for inner silence matures as well as the need to look for a balance that allows facing a new life or even more than one. On the other hand, the artist moves around the unknown universes with confidence, investigating every aspect not with the rigour of the scientist, but with the soul of the visionary that urges leaving the columns of the known, like a mythological hero, and landing in unexplored territories. Prandi keeps intact the most salient features of the hero’s archetype: the inclination to travel, the accuracy of the preparations, the courage when fighting, the desire for change, the will to return. The artist faces his own artistic journey with awareness, entering the imaginary and oneiric world in which, as already underlined by Freud, childhood desires, often considered a source of shame, are hidden after being removed by adults who prefer to confine them, unexpressed and unheard, in a deep place of the unconscious. Prandi delves into his own reality and into his own desires, to save, welcoming and actualising the exhortation to Modigliani by Ghiglia, his own dream, considered as a moral duty; he traces new artistic paths for an introspective investigation, unearths hidden or removed sources of happiness. Therefore, the performance takes on a significant meaning within the artistic progress: ordinary people involved in an artistic project begin to reflect on the broader and more varied subject of art starting from what seems a simple active participation that, at that point, becomes an opportunity for personal and collective comparison and growth. In these complex operations, Prandi transforms man into a work of art, staging life and drama, intended as a primordial action guaranteeing access to the inner and emotional world. The relational function of art is strongly underlined by the direct contact between the artist and user who stops, for a moment, clad in the usual clothes, to accept a new role within an illusion that, like a mirror, an iconographic symbol of Truth, reflects the truest part of himself or herself. In a fluctuating and apparently unstable world, the artistic and kinetic research made by Andrea Prandi proves to be indispensable for the achievement of an inner balance: the movement reveals life, the emotion becomes a light that lightens up.