THE CODE – Section 1

The artistic research starts from the musical code, which undergoes a long series of alterations. Initially the artist plays with the notes, adding lines and prolonging others, replacing the full-bodied parts (heads) with squares of various colors. Subsequently the alterations become more and more significant and the musical language is increasingly abstract, but retains the original values of the notes. The artist obtains a set of primary elements, capable of relating to each other and with a strong visual identity. It superimposes and rotates by 180° two primary elements of the same type, defining a new set of elements called "complexes", which also acquire a new musical value.

THE CODE – Section 1

The artistic research starts from the musical code, which undergoes a long series of alterations. Initially the artist plays with the notes, adding lines and prolonging others, replacing the full-bodied parts (heads) with squares of various colors. Subsequently the alterations become more and more significant and the musical language is increasingly abstract, but retains the original values of the notes. The artist obtains a set of primary elements, capable of relating to each other and with a strong visual identity. It superimposes and rotates by 180° two primary elements of the same type, defining a new set of elements called "complexes", which also acquire a new musical value.

THE STRUCTURE - Section 2

To order the "complex elements" in the space and favor their relationships, the artist starts the study of the structures. The basic idea is to create structures with multiple superimposed levels, corresponding to the vertical superimposition of sounds, typical of the harmonic structure of music. Of the drum scores he only considers the lines of the stave, cropped in order to obtain useful modules. Overlapping on multiple levels and rotated at different angles, the modules create the definitive structure. At each level correspond "complex elements" of similar size. At the deepest level belong small elements, at the superficial levels ever larger elements. The two-dimensional composition acquires an evident perspective character. The variation in the size of the shapes also corresponds to the variation in musical value.

THE STRUCTURE - Section 2

To order the "complex elements" in the space and favor their relationships, the artist starts the study of the structures. The basic idea is to create structures with multiple superimposed levels, corresponding to the vertical superimposition of sounds, typical of the harmonic structure of music. Of the drum scores he only considers the lines of the stave, cropped in order to obtain useful modules. Overlapping on multiple levels and rotated at different angles, the modules create the definitive structure. At each level correspond "complex elements" of similar size. At the deepest level belong small elements, at the superficial levels ever larger elements. The two-dimensional composition acquires an evident perspective character. The variation in the size of the shapes also corresponds to the variation in musical value.

THE STRUCTURE - Section 2

To order the "complex elements" in the space and favor their relationships, the artist starts the study of the structures. The basic idea is to create structures with multiple superimposed levels, corresponding to the vertical superimposition of sounds, typical of the harmonic structure of music. Of the drum scores he only considers the lines of the stave, cropped in order to obtain useful modules. Overlapping on multiple levels and rotated at different angles, the modules create the definitive structure. At each level correspond "complex elements" of similar size. At the deepest level belong small elements, at the superficial levels ever larger elements. The two-dimensional composition acquires an evident perspective character. The variation in the size of the shapes also corresponds to the variation in musical value.

THE COMPOSITION - Section 3

The composition represents the final step in the aesthetic research of the new language and allows to obtain the complete visual work. Having performed the function of organizing the "complex elements" in space, the artist hides the structure in order to appreciate all the interactions that are created between the various elements of the different levels. He achieves intricate compositions of floating “complex elements”. The technique used for the realization of the works is the "papier collé", which guarantees a high degree of fidelity, difficult to achieve with traditional techniques.

THE COMPOSITION - Section 3

The composition represents the final step in the aesthetic research of the new language and allows to obtain the complete visual work. Having performed the function of organizing the "complex elements" in space, the artist hides the structure in order to appreciate all the interactions that are created between the various elements of the different levels. He achieves intricate compositions of floating “complex elements”. The technique used for the realization of the works is the "papier collé", which guarantees a high degree of fidelity, difficult to achieve with traditional techniques.

THE COMPOSITION - Section 3

The composition represents the final step in the aesthetic research of the new language and allows to obtain the complete visual work. Having performed the function of organizing the "complex elements" in space, the artist hides the structure in order to appreciate all the interactions that are created between the various elements of the different levels. He achieves intricate compositions of floating “complex elements”. The technique used for the realization of the works is the "papier collé", which guarantees a high degree of fidelity, difficult to achieve with traditional techniques.

THE COMPOSITION - Section 3

The composition represents the final step in the aesthetic research of the new language and allows to obtain the complete visual work. Having performed the function of organizing the "complex elements" in space, the artist hides the structure in order to appreciate all the interactions that are created between the various elements of the different levels. He achieves intricate compositions of floating “complex elements”. The technique used for the realization of the works is the "papier collé", which guarantees a high degree of fidelity, difficult to achieve with traditional techniques.

THE INTERACTION – Section 4

In parallel with the visual search, the musical search begins. The artist's intention is to obtain new music from the created visual compositions. The difficulties of decoding require the conception of new visual forms, which make it possible to create paths within the painting, which can be translated into rhythmic musical tracks, useful for the development of experimental melodies.

FUNDAMENTALS - Section 5

Culmination of artistic experimentation: the visual research, documented by the four works present in this section, constitutes the map for the musical and dance production, in a complete fusion and integration of the different languages. The performance, recorded in Susanna Beltrami's DanceHaus in Milan, represents the learning capacity of a living organism: from the visual work of art, the artist derives the trajectories that the dancers must faithfully follow at different speeds. The trajectories, reproduced on the floor, are sequences of values of musical duration, used to compose the original soundtrack and determine the movements of the dancers, in perfect synchrony between graphics, sound and movement.

FUNDAMENTALS - Section 5

Culmination of artistic experimentation: the visual research, documented by the four works present in this section, constitutes the map for the musical and dance production, in a complete fusion and integration of the different languages. The performance, recorded in Susanna Beltrami's DanceHaus in Milan, represents the learning capacity of a living organism: from the visual work of art, the artist derives the trajectories that the dancers must faithfully follow at different speeds. The trajectories, reproduced on the floor, are sequences of values of musical duration, used to compose the original soundtrack and determine the movements of the dancers, in perfect synchrony between graphics, sound and movement.

FUNDAMENTALS - Section 5

Culmination of artistic experimentation: the visual research, documented by the four works present in this section, constitutes the map for the musical and dance production, in a complete fusion and integration of the different languages. The performance, recorded in Susanna Beltrami's DanceHaus in Milan, represents the learning capacity of a living organism: from the visual work of art, the artist derives the trajectories that the dancers must faithfully follow at different speeds. The trajectories, reproduced on the floor, are sequences of values of musical duration, used to compose the original soundtrack and determine the movements of the dancers, in perfect synchrony between graphics, sound and movement.

FUNDAMENTALS - Section 5

Culmination of artistic experimentation: the visual research, documented by the four works present in this section, constitutes the map for the musical and dance production, in a complete fusion and integration of the different languages. The performance, recorded in Susanna Beltrami's DanceHaus in Milan, represents the learning capacity of a living organism: from the visual work of art, the artist derives the trajectories that the dancers must faithfully follow at different speeds. The trajectories, reproduced on the floor, are sequences of values of musical duration, used to compose the original soundtrack and determine the movements of the dancers, in perfect synchrony between graphics, sound and movement.

FUNDAMENTALS - Section 5

Culmination of artistic experimentation: the visual research, documented by the four works present in this section, constitutes the map for the musical and dance production, in a complete fusion and integration of the different languages. The performance, recorded in Susanna Beltrami's DanceHaus in Milan, represents the learning capacity of a living organism: from the visual work of art, the artist derives the trajectories that the dancers must faithfully follow at different speeds. The trajectories, reproduced on the floor, are sequences of values of musical duration, used to compose the original soundtrack and determine the movements of the dancers, in perfect synchrony between graphics, sound and movement.