Recovery of Illusion: An Experiment

The assassination of illusion is – continuously and contemporaneously –
committed by every battle front. Information and visibility of social life are spread: the civil world is trapped in the everlasting theory-building, in perpetrated justification of every vulgarity, in continuous quest for a remedy in order to repair every lack.
Every message, behind its alluring appearance, carries an only definite news report: the limits between reality and representation have been violated. Every representation has come closer to the landscape of Truth and claim for the condivision of this prosaic world.
The seductive objects have taken the upper hand on the subject. Once upon a time subject was independent, now it is subordinated. Every object shines upon its own static nature, its own indifference for staring desire.

Hyperrealism, in communication and art, represents an estatic moment of reality and describes objects in their condition of nilly charmers. The ideal or tangible argument is focused by a medium. It offers itself voluptuousness, in the shrewd game of progress, beyond good and evil. An analitic look, a change of perspective or a different scene are enough to perceive this material Paradise as a corresponding Hell full of betrayed individualities and stereotyped biographies.
The artistic expression, as knowledge process, in the will of analisys and criticism of contemporary world, must confront itself with all available intruments and techniques.
Meaning production lives in contadiction with an extraneous form, which has been deprived of its functional features. Sense and consciousness confront themselves with social life, with endless conflict between work of art and public perception.

Paolo “Jins” Gillone explores advertising language, information and communication. He inserts the strong contents of his art in the persuasive shapes of pop music, urban life, everyday language: radio, slogan, photography and fashion.
“Family Affair” shows a journey into Gillone’s biographical events, in a style that recovers all the poetry and mistery abandoned by global communication. From actuality, he takes only the support to send his contents. His works are just like mails from an unknown sender but all his messages contain sentimental reports of his private life.
The receiver has to decode the text, in a difficult game with the addition of the unreapetable and enigmatic personal experience of the artist.
For a recovery of lost illusion, for a new lyric and personal approach, author’s word becomes a sign, like an empty container that can be amplified and echoed. Word is no more an object that can refect a world.

Content is an illusory and arbitrary instrument, suitable for a continuous meaning creation. Mistery of birth, psychological analysis of relationships between men and women or parents and sons appear in videos, serial experiments, photographs. After a deep study for a creation of a style, painting perturbs writing and image, draw and colour.
Observer has to recollect all meanings and decode, until unconscious association. Art ascends to an upper universal level, not because of its actual contents but because all works are trying to recover the immediate experience, irreducible to modern civilization.
Work of art conquers a limitless country: life crosses the borders of global information, social criticism mixes private reasons and media.
Every single work reflects: like a mirror, tempting by definition. It reflects upon the build-up of meanings that makes art possible and, at the same time, impossible – in our modern times -.

Ivan Fassio


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