A conversation about chaos, Kitasavi
At a glance, knowing nothing about Kitasavi (his creative processes, his inspirations), the impression that his works left on me were, as James Hillman elaborates in The thought of the heart, just what the Greek word aisthesis originally meant: a contained sigh responding to the affectation of the senses; an “Ah!” that may be translated in this case for: “this is a great artist”. After having my own taste pull that on me, I welcomed the need to write an “objective” critique (hahahaha). May the following lines give an account of that!
After reading the curatorial text written by Desirée, I went from that withdrawn sigh to the confirmation of that first impression. Kitasavi is a digital sculptor. Having the chaos in his work come completely, from the very beginning, from his imagination, is undoubtedly one of the most interesting creative aspects of his work. Desirée says that “he prefers to create everything by hand (…) [so] he can maximize human input and control every little detail of every artwork”. Considering the complexity of the images (the use of color, the virtuality of the textures), it is unavoidable to think that the materiality of his works stems from an admirable virtuosity.
Judging by this beginning, 2022 looks promising for the Aura platform. Kitasavi is an artist who draws his inspiration from the speed of current times, especially in the urban environment. Without established external references, his sculptures float on his screen like a supernova in space. Objects of diverse shapes are suspended in the frame, held by the creative principle that is the source of everything we know: the chaos the world itself emerges from. If chaos was for different ancient cultures the beginning of every theogony (the divine and mortal beginning of our existence), it seems to be the end pursued by Kitasavi’s poetics: this life of ours, the past, the present and the future, is the purest medium for the expression that rises from the deconstruction and reconstruction of the shapes in the prism of imagination, a kind of recycling of everything the human species has accumulated through time.
If the sigh turned into confirmation, the opportunity that Kitasavi’s work offers to us to establish bonds anew stems from the creative power of digital art. Humanity has reached the possibility of materializing almost any idea (understanding idea in its deleuzian sense), and that is not a matter of fate, it is a matter of sense: perception, direction and destiny. The coherence of chaos requires no justification.