Vitalità di un attimo inutile (Vitality of a useless moment)

Leopoldo Innocenti was born in Florence in 1994 and he obtained his diploma at the Accademia di Belle Arti in Florence in pictorial arts.

Engaged in continuous research and realisation of graphic-pictorial works, Innocenti uses drawing as the main expressive element, which originates from graphic works on notebooks that are then transformed into pictorial realisations, mainly preserving the black stroke and keeping paper as the main support. This becomes the primary element of expressive research, where layers or pieces torn and subsequently glued participate in the phenomenon of creation-destruction and recomposition of the work.

"My interest in the phenomena of natural organic generation has led me to often use paper as a privileged medium for my work.  Indeed, it retains a vital principle that is awakened by the element of water in which the coloured pigment is dissolved. Thus, an active interaction takes place between the two materials, where the water awakens the vital element of paper, which is expressed in the tension and relaxation of its fibres when wet. The layering also derives from the observation of natural phenomena, which is rendered by glueing pieces of paper onto the surface of the work, or by working to obtain transparencies that allow a glimpse of the underlying layers of paint. In addition to additive layering, there are also destructive phenomena, where the paint surface is worn down with sandpaper, circular grinders, or by intervening on the composition of the colour by changing the quantity and quality of the binder so that it detaches more easily from the support."

The paintings begin with the collection and development of various and diverse sources, between which there is an intuitive link. The painting becomes the place and testimony of their developing path; an ecosystem that sees their germination, growth, attraction, and repulsion physically obtained through the application of the processes described above until the final work is achieved.

Similar to what happens with natural phenomena, in which all attempts at mental appropriation are left aside, one is introduced to the dimension of painting as an 'event'. In it, one only indulges in visual enjoyment and total participation with nature that gives the observer a new perspective detached from the world.