I designed an elaboration of the historic logo of Sardinia with the four Moors. It’s just a small idea, good for t-shirts and gadgets, but it brings together Sardinia and the word Free. However, I am intrigued by the message that combines the freedom and geographical finiteness of an island. Sardinia has always given me the feeling of freedom, because it has never bored me, and every thing, even revisited many times, I saw it under so many skies, always new, and with eyes that are always different in the course of life. This 80’s color amused me and I propose them to you.
[ Ho disegnato una elaborazione dello storico logo della Sardegna con i quattro mori. È solo una piccola idea, buona per magliette e gadget, ma mette insieme la Sardegna e la parola Free. Mi intriga però il messaggio che abbina la libertà e la finitezza geografica di un’isola. La Sardegna mi ha sempre dato la sensazione della libertà, perché non mi ha mai annoiato, e ogni cosa, anche rivista tante volte, l’ho vista sotto tanti cieli diversi, sempre nuovi, e con occhi sempre diversi nel corso della vita. Questa colorazione anni ’80 mi ha divertito e ve le propongo. ]
This poster is a typographical divertissement on the name Sardinia, which structures the design of the woman in costume and leaves her translation in other languages to the pleating of the white shirt. Nothing more and nothing less than an idea I wanted to show.
[ Questo poster è un divertissement tipografico sul nome Sardegna, che struttura il disegno della donna in costume e lascia alla plissettatura della camicia bianca la sua traduzione in altre lingue. Niente di più e niente di meno che un idea che volevo mostrare. ]
This is a poster for a meeting about the complex figure of Pavel Florenskij, a Russian Orthodox theologian, priest, philosopher, matehematician, physicist, electrical engineer, inventor, polymath and neomartyr. The title, “Pavel Florenskij beyond Hamlet”, is a way to discuss the central role of Florenskij on Antinomy, and its links with Shakespeare’s poem and its meaning. A philosophy which takes uncertainty, the vibration between “to be” and “not to be” as the only way to try to understand the world. A philsophical attitude very close to the position of modern physics. So, the big question mark, that Shakespeare even doesn’t use to ask the most deep question of the Occidental philosophy, takes the role and the face of Yorick’s skull.
[ Questo è il poster per un congresso sulla complessa figura di Pavel Florenskij, teologo, sacerdote, filosofo, matematico, fisico, ingegnere elettrico, inventore, studioso eclettico e neomartire russo. Il titolo, “Pavel Florenskij oltre Amleto”, è un modo per discutere il ruolo centrale di Florenskij sull’antinomia, e le sue connessioni con Shakespeare e il suo poema. Una filosofia che prende l’incertezza, la vibrazione fra l’essere e il non essere, come l’unica possibilità di ricerca della comprensione del mondo. Un atteggiamento filosofico molto vicino alle posizioni della fisica moderna. Il grande punto interrogativo, quello che Shakespeare non utilizza per porre la domanda più importante della filosofia occidentale, si trasforma così nel teschio di Yorick. ]
“The Centro interdisciplinare di ricerca sul paesaggio contemporaneo has launched an appeal to artists and visual designers of international renown intent upon gathering their viewpoints on a phenomenon currently plain for all to see: the migration of men and women fleeing war, misery, overwhelming strife… The result is the great poster collective exhibition Freedom Manifesto / Humanity on the move whose objective is to raise awareness about, and urge, new perceptions concerning a topical theme of great importance: immigration…” The exhibition is now up at Centrale Montemartini, in Rome. I designed this poster, where the symbol of migration, the foot, faces its alternative meaning of freedom, and shows the pain of a mother and her children. Nobody knows if they are leaving home or waiting for someone coming back home, but it is not important. The sadness for something missing is the same.
And this is the last poster for the 2014 season of the Teatro Lirico in Cagliari. Gli Stivaletti is a work by Pëtr Il’ič Čajkovskij. It’s a complicated story, where the Devil and a pair of boots owned by the Empress appear among the main elements. The work takes place between Ukraine and St. Petersburg. I have imagined a pair of boots, whose shape draws the Devil’s horns, embroidered with a golden typical Ukrainian pattern.
The only ballet for the 2014 Season of Teatro Lirico di Cagliari, Lo Schiaccianoci (The Nutcracker) is a famous opera by Pëtr Il’ič Čajkovskij. The image of the poster is a synthesis between a ballet slipper and the Mouse King, the terrible enemy of the Nutcracker.
This year the theme of the event “I libri aiutano a leggere il mondo” (The books help to read the world) as always perfectly organized by Laura Pisu and the Associazione Malik, was entitled “La vita, per esempio” (Life, for example). Stories of exemplary lives, and often little-known of some of the protagonists of international culture. I designed this poster in which the index of a hand shows the life line of another hand – not of the same person, as you can see.
Two more posters for the Teatro Lirico di Cagliari. The first is Tosca by Giacomo Puccini. I represented the suicide of Tosca at dawn from the walls of Castel Sant’Angelo in Rome, such as the fall of the angel who stands on the rampart. The sword that follows the fall has the size of a dagger, one with which is killed Scarpia. The second is for La Traviata by Giuseppe Verdi. The violet, whose name is the same of the main character who dies of tuberculosis, shows ribs which intertwine to draw the lungs.
“The Magic Flute” (Die Zauberflöte), by Wolfgang Amadeus Mozart, is a complex work in which the esoteric symbolism pervade the whole structure. Mozart belonged to the Masons, and the goal of knowledge, the light that illuminates the darkness of ignorance, is here rendered by the iridescent colors of the spectrum, seven for the seven notes and seven holes in the golden flute, forming seven triangles that light up the dark. The scenario of the Opera is Egypt, so that the triangles could be seen also as the Pyramids. The poster is also a tribute to Armando Milani’s famous work for the Library of Alexandria (The light of Culture).
During the last year, the University of Cagliari re-discovered an important collection of engravings by Giovanni Battista Piranesi, the venetian visionary architect of XVII century whose influence on artists and works lasts still nowadays. The collection has been forgotten for many years into some lost room, so that even its memory was difficult to find among university teachers, librarians or employees. We organized an exhibit to present to the citizens this public treasure, showing some of the over 1100 printings into the space of Il Ghetto, an exhibit centre in the ancient heart of Cagliari, called the Castello quarter. Together with architect Paolo Sanjust we looked after the graphic and exhibit design. A modern art exhibit inspired by Piranesi’s works, has also been organized near there, at the ancient City Hall.