KROLL
KROLL
KROLL
Monoliths, slivers, fragments, thorns, labyrinth: this is how Kroll appears to anyone who approaches and enters it.
Obstructive, intriguing, fascinating in its unpredictable lacerations, tortuous paths towards an unforeseeable goal that only a glance from above can reveal as a black crater: a sinkhole where one can annihilate oneself without return, a lair of passage towards an unspeakable elsewhere in the infinity of the cosmos, an unfathomable and spontaneous source of new potential vital magma or, instead, only imprisoned space, the expression of an existential void bounded by a bristling barrier that prevents any possibility of escape from one’s inner darkness?
This may be Kroll which, like every “open living artwork”, necessarily offers himself in his hermeneutics to multiple points of view, generating a kaleidoscope of readings and potential meanings: the user, himself, is an active part of the installation who lives in his gaze and in its action, it can reach free space perceiving it as a calming point of arrival or an inscrutable and stimulating passage but, also, as a fence from which, with difficulty, it will be able to get out, a tangible experience of its limit.
Black, symbolically associated with darkness, with the original undifferentiated, here becomes the motionless engine of the composition, a creative reinterpretation, as revealed by the author himself, of a “cosmic black hole”, a region of space-time with a gravitational field so strong that even the light manages to escape it, a sort of omnivorous whirlpool that overwhelms everything to return it to new dimensions, in a process of annihilation and, perhaps, of subsequent rebirth.
An idea, the one from which the artist’s reflection has germinated, of extraordinary contemporaneity, the result of the most recent achievements of science and technology, demonstrating the possible fruitful contamination between disciplinary fields that are only apparently distant but, in truth, always dialoguing in the complementarity of knowledge. Kroll, due to its protean configuration, also inevitably brings to mind the image of the Sol Niger, an element of alchemical symbolism which, especially starting from the Renaissance, up to undisputed protagonists of the contemporary scene such as Duchamp and De Chirico, has woven a stimulating exchange relationship with the world of art.
A black sun, the shadow of the sun: a symbol remarkably similar to the black hole which is in fact a dark star, a star that sucks it in instead of giving light. The juxtaposition between Sol Niger and the black hole is not limited to appearance, but can also be accorded in essence and potential meanings. In the alchemical path the Sol Niger is a symbol linked to the Putrefactio that should not be understood as a process of mere final dissolution but, on it’s contrary, as the first stage, phase of the Nigredo which will be followed by those of Albedo and Rubedo, of an initiatory path, called the Great Work, divided into various steps that gradually involve a spiritual metamorphosis, a transformation of the soul that leads to the Philosopher’s Stone. Finding the Philosopher’s Stone means discovering the Absolute, possessing perfect knowledge.
Kroll, a work whose roots can be reconnected to a distant and profound past recreated in a contemporary icon, therefore invites us to enter and start a journey, perhaps towards the Unknown.
Monoliths, slivers, fragments, thorns, labyrinth: this is how Kroll appears to anyone who approaches and enters it.
Obstructive, intriguing, fascinating in its unpredictable lacerations, tortuous paths towards an unforeseeable goal that only a glance from above can reveal as a black crater: a sinkhole where one can annihilate oneself without return, a lair of passage towards an unspeakable elsewhere in the infinity of the cosmos, an unfathomable and spontaneous source of new potential vital magma or, instead, only imprisoned space, the expression of an existential void bounded by a bristling barrier that prevents any possibility of escape from one’s inner darkness?
This may be Kroll which, like every “open living artwork”, necessarily offers himself in his hermeneutics to multiple points of view, generating a kaleidoscope of readings and potential meanings: the user, himself, is an active part of the installation who lives in his gaze and in its action, it can reach free space perceiving it as a calming point of arrival or an inscrutable and stimulating passage but, also, as a fence from which, with difficulty, it will be able to get out, a tangible experience of its limit.
Black, symbolically associated with darkness, with the original undifferentiated, here becomes the motionless engine of the composition, a creative reinterpretation, as revealed by the author himself, of a “cosmic black hole”, a region of space-time with a gravitational field so strong that even the light manages to escape it, a sort of omnivorous whirlpool that overwhelms everything to return it to new dimensions, in a process of annihilation and, perhaps, of subsequent rebirth.
An idea, the one from which the artist’s reflection has germinated, of extraordinary contemporaneity, the result of the most recent achievements of science and technology, demonstrating the possible fruitful contamination between disciplinary fields that are only apparently distant but, in truth, always dialoguing in the complementarity of knowledge. Kroll, due to its protean configuration, also inevitably brings to mind the image of the Sol Niger, an element of alchemical symbolism which, especially starting from the Renaissance, up to undisputed protagonists of the contemporary scene such as Duchamp and De Chirico, has woven a stimulating exchange relationship with the world of art.
A black sun, the shadow of the sun: a symbol remarkably similar to the black hole which is in fact a dark star, a star that sucks it in instead of giving light. The juxtaposition between Sol Niger and the black hole is not limited to appearance but can also be accorded in essence and potential meanings. In the alchemical path the Sol Niger is a symbol linked to the Putrefactio that should not be understood as a process of mere final dissolution but, on it’s contrary, as the first stage, phase of the Nigredo which will be followed by those of Albedo and Rubedo, of an initiatory path, called the Great Work, divided into various steps that gradually involve a spiritual metamorphosis, a transformation of the soul that leads to the Philosopher’s Stone. Finding the Philosopher’s Stone means discovering the Absolute, possessing perfect knowledge.