IRENE FAVALLI

Sensitivity, this peripheral and neglected ability, serves first to perceive changes. It is therefore necessary, if you do not want to suffer its progressive atrophy, to devote the utmost will in education to the active use of the senses. We can trust plants because they are extremely sensitive to the environment, to an incomparable extent compared to us humans. Wild, anarchy and art are areas that torment our attitudes and urge us to broaden our horizons.  I see how the language of art approaches the vegetable one. Creative thinking and wild are both, necessarily, confused because they are not linear. The works are manifestations of dynamic events and processes, of unexpected events and solutions: in this type of art, there can be flashes of true freedom, honesty and vitality. Each work of art is a dense set of information. The investigation that interests me proceeds by analogies and from here, it is easy to understand as wild art that which is made from nothing, not necessarily spontaneous, but rather of few necessities, capable of getting by, because it is based on a sedimented content and roughness of habits. Rich, because it is changeable, but sober, extraneous to the practice, autonomously capable of affirming its own tangible value. My art behaves like the wild universe, in which the answer to a new problem is random, but if it proves effective, it is processed to be integrated into the system. This is the most intimate point of contact between art and the wild.