GENERAL INTRODUCTION _ Integrating Theory, Research, and Visual Documentation in Giusirames’s Artistic Practice_
This thesis is based on the integration of three complementary components: Giusirames’s Treatise, the artistic and scientific research conducted through processes of material solidification, and the visual portfolio documenting the resulting works. These three elements form a coherent system, in which theory does not precede practice, nor does practice illustrate theory, but both emerge from a common conceptual core: the desire to interrogate matter as an active subject and not as a mere support.
Giusirames’s Treatise represents the epistemological framework for the research. It articulates a reflection on perception, the nature of the visible, and the possibility of generating a new form of materiality through the solidification of fluid elements. The text defines the fundamental principles of the author’s poetics: the rejection of mimetic representation, the centrality of the alchemical gesture, the conception of color as an endogenous and non-superficial component, and the idea of the work as a “find of the future,” endowed with an autonomous physical and temporal presence.
In parallel, artistic and scientific research develops these insights methodologically.
Through experimental protocols involving seawater, oil, rain, smoke, hydrocarbons, and pigments, the practice investigates the physical and chemical conditions that allow a fluid to transition to a solid state.
The management of dynamic viscosity, the control of exothermic reactions, the modulation of latency times, and the guidance of crystallization processes constitute the technical core of the experimentation.
These processes are not conceived as mere operational tools, but as moments of dialogue with the material, which is configured as an agent endowed with resistance, memory, and the capacity for transformation.
The photographic portfolio completes the picture, offering systematic documentation of the works and processes. The images do not serve an illustrative function, but rather demonstrate the true three-dimensionality of the surfaces, the optical depth generated by solidification, the complexity of the textures, and the luminous presence trapped within the layers of material.
The portfolio thus constitutes a visual archive that allows us to observe the metamorphoses of the material and to understand the relationship between gesture, physical reaction, and formal outcome.
The integration of these three levels—theoretical, experimental, and visual—allows us to delineate an artistic practice that lies at the crossroads of art, materials science, philosophy of perception, and the poetics of transformation.
The thesis does not simply describe a set of techniques, nor propose an abstract reflection on the material: it constructs a research model in which the work emerges as the outcome of a complex process, in which the artist does not impose a form, but accompanies the material towards a possible configuration.
The reader is invited to explore this journey with an open and dynamic gaze, aware that each chapter—theoretical, technical, or visual—contributes to the construction of a single vision: that of a material that does not represent, but exists; which does not imitate, but becomes; which does not limit itself to being observed, but demands to be encountered.
THE TREATISE OF GIUSIRAMES: THE MATTER OF THE SOUL
Introduction: The Refusal of the Visible. Reality is not certain to my eyes; it is a thin veil that hides the most mad, nuanced, and ethereal poetry. The world often imposes a clear and banal vision, but the artist must have the courage to see the “different,” to shatter his waves of imagination against the wall of the systematic. Pretending to paint what others want is an act I hate; it is a prison of the senses, a constraint that leads to blindness of the soul. My painting and art arise from a visceral need to grasp the elusive and give it a body. Art, for me, is not technique, but the very breath of the soul becoming substance, a surge of blood that flows to quench the heart, which gives honor in a different way. Chapter I: Genesis of Matter – The Alchemy of the Laboratory In this first stage, the artist ceases to be a user of industrial products and becomes a Molecular Architect. The blank canvas is not a starting point, but a limit to be overcome through the creation of the support that will host the thought. Support is a graceful word in the artistic lexicon; it can be and is the reflected work.
1.1 The Rebellion to the Surface: The traditional support is passive. In my theory, the support must be generated by the artist. You don’t paint on something, you paint with the very structure of that work. Stepping outside the unconditioned reflex of habit, seeking what the eyes consider infinite, noble divinity.
1.2 The Ritual of Mixing: The preparation of compounds is a sacred act. Mixing does not mean uniting, but fusing the breaths of different substances (resins, powders, oils, marine essences) until they speak a single language. Making fantasy logical, and reason mad, which desires what it dreams, the noble dimension.
1.3 The Dialectic of Touch: A work must be read with the fingers, with the skin. There are two fundamental states in my matter:
The Smoothness of Crystal: It represents purity, the memory of water, the coldness of lucid thought. The madness of my reason that abandons itself to the instinctive desire to possess the legendary infinite.
The Ancestral Roughness: The lumps and porosities that recall the rock and the earth, where matter rebels against the hand and creates its own orography. Verses felt and curated by the hand of the soul cleansed of distractions.
Chapter II: The Solidification of the Fluid – The Eternity of the Instant.
This chapter explores the physical miracle of transformation: how to “stop” the movement of the sea and the viscosity of oil, the falling rain, how to symbolize the industry that disrupts the environment, unbridled consumerism, globalization. Works emerge with a face composed of history and consciousness. From Coca-Cola, a common vice born of an era, to industry, rust, hydrocarbons, pollution, with smoke, the golden and precious nature of oil, the wisdom of wine, the everyday nature of coffee.
2.1 The Sea as Canvas: The sea is the most unstable element. Solidifying it means performing a divine gesture: making the abyss walkable and safe. It is the crystallization of a liquid dream that finally agrees to be touched, to tell the story of the cities it has tamed. Jewels are born from his imagination and the artist’s creative touch. So much philosophy and poetry lies hidden in an intuition.
2.2 Oil as Muscle:** Oil is no longer a simple binder that slides, but becomes the backbone, the muscle of the work. Under my manipulation, it acquires a rigidity that defies the centuries. A complex sculpture with infinite labyrinths of gold and sighs.
2.3 Time as a Silent Catalyst: Solidification is not instantaneous. It is an active wait. The artist must listen to the material as it changes state. There is a “point of no return,” an instant of fixation where time stops and the fluid becomes a monument. In that moment, the work ceases to be a process and becomes an entity. Delicacy and listening animate the final result, the canvas.
Chapter III: The Alchemical Imprint – Color as DNA.
Color in Giusirames’ theory is never a superficial coating, but an endogenous element. It must ignite life, enthusiasm, and the desire to smile. It can also be ethereal, imperceptible, and conceal the fourth dimension.
3.1 Molecular Color:** The pigment is not spread on top, but injected into the core of the mix while it is still alive. The color becomes the genetic code of the solidified matter.
3.2 Trapped Depth:** Because the color is immersed in the thickness, the light does not simply bounce off, but travels through the translucent layers, creating an internal illumination. The work seems to breathe its own light.
3.2.1 Refraction vs. Absorption On the Smoothness of Crystal: Light strikes the surface and penetrates unimpeded to the suspended pigment. Here, the light undergoes total refraction, returning to the observer’s eye with glassy purity. It is the “window on the sea” effect, the discovery of the great sage’s new vantage point, who gives a part of himself to create legend. On Ancestral Roughness: Light is trapped and fragmented in the porosities and lumps. Real micro-shadows are created that do not depend on the black pigment, but on the physical projection of the material. Here, the light is “chewed” by the texture, giving the work a mineral warmth.
3.2.2 The Prism Effect of Solid Oil The solidified oil acts like a lens. Depending on the angle of incidence, the underlying pigment can appear closer or deeper, creating an illusion of internal movement that I call a “mutant organism.”
Chapter IV: Beyond the Frame – The Find of the Future
The finished work no longer belongs to the world of images, but to that of eternal objects, to the furtive breath of a poetry born from creation. The works are and remain alive, mutating over time, destined to return to their father, the sea. They fight the fury of fire, evil against good.
4.1 The Defeat of the Ephemeral:** In an age of perishable and digital art, my theory points to stone. Oil, sea, and other solidified elements are “naturally living fossils.” They do not age, but stabilize like fragments of another dimension.
4.2 The “Presence” Effect**: Anyone looking at a work by Giusirames should feel a physical sense of disorientation. True three-dimensionality (not the illusion of chiaroscuro) commands a reverential respect. The work occupies space, has weight, a temperature, an additional dimension.
4.3 The Poetic Legacy:** The ultimate goal is to create a “New Nature.” I do not seek to imitate the world, but to extract from the chaos of elements (liquid, unstable, volatile) a form of existence that can support the weight of my wildest dreams.
Conclusion: The Manifesto of Freedom.
Each of my works is an act of freedom. I have stopped pretending. I have stopped following the path drawn by others. I have created my own land, my own sea, and my own rock. My treatise ends where the eye of the observer begins: the moment his hand touches my solidified soul. I will continue to pursue my fantasies and hallucinations, and to give artistic value to false custom.
Technical Appendix: The Secret of Material Transmutation
The genesis of a work signed Giusirames lies not in the act of painting, but in the physical mastery of the substance. Technical manipulation begins with the decomposition of the idea of "color" as a separate entity. In my mixes, the pigment loses its individuality to become a molecular constituent of the structure. This is not simple mixing; it is a cold fusion where synthetic resins, heavy oils, and organic catalysts negotiate with each other to find a new state of being.
The secret lies in the management of dynamic viscosity. When the oil is induced to solidify, it goes through a latency stage in which its surface tension changes radically. In this time interval, the material possesses a plastic memory: it is here that my brushstrokes glide, encountering not the friction of the canvas, but the fluidity of an element deciding to become eternal. It is a tactile dialogue where the hand feels the resistance growing, a physical signal that warns the artist that the moment of fixation is approaching.
Technically, the solidification of the sea or the oil requires millimetric control of the exothermic reaction of the mix. If the material heats too quickly, the poetry breaks into random cracks; if it reacts too slowly, the transparency becomes opaque. Crystallization must be guided so that light can be trapped between the layers. Once solid, the surface is not flat: it is a complex orography where the actual thickness creates a depth of field that no drawn perspective could ever simulate.
The final texture, which oscillates between the coldness of glass and the roughness of living stone, is the result of this struggle between the indomitable nature of fluids and the artist’s desire to freeze time. Every square centimeter of my work is a self-sufficient solid body, a structure that no longer needs a frame to exist, because it has itself become a fragment of a new reality, a volume that breathes through its porosity and shines with a light that comes from the heart of the mix, where the color was imprisoned during the transition from state to state.
Reading Guide: Awakening Before Matter
The observer who prepares to cross the threshold of a solid work must shed the visual prejudice typical of two-dimensional painting. Before these surfaces, the first act required is not observation, but sensorial silence. We must accept that what we have before us is not a representation, but a presence. It is not an image of the sea, it is the sea that has stopped flowing and turned to stone before our gaze.
The first suggestion for the viewer is mobility. A work by Giusirames cannot be understood from a single, fixed point of view. We must move around it, because the light, penetrating the secrets of the molecular mix, changes direction and intensity with every step. The depth trapped between the layers of solid oil reveals details that appear and disappear like mirages, making the work a mutating organism that responds to its surroundings.
Secondly, the viewer must feel the call of touch. Although the sacredness of art often imposes distance, my theory was born to be touched. The hand must perceive the transition between the cold transparency of glass and the brute force of ancestral roughness. It is through the fingertip that the artist’s soul is communicated: touching the texture means retracing the path of the free brushstroke, once fluid, now crystallized in eternity.
Finally, we must look beyond the external form to glimpse the “endogenous color.” We must not seek the brushstroke on the surface, but the vibration of the pigment pulsating from within. The observer must allow themselves to be overwhelmed by the “mad poetry” that glides between the textures, understanding that every nuance is the result of an alchemical struggle against time, won. Only then does art cease to be an object and become the breath of the soul that has finally found a body to inhabit.
Thesis: Technical, Artistic, Scientific https://www.researchcatalogue.net/profile/show-exposition?exposition=4155213
Portfolio