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Varren - For road victims

Varren - For road victims

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Varren constantly maintains his eye ­ of an artist committed to human reality, especially the most tragic. In this work all his metaphorical geometry is concentrated ­ between in the non-vision of portraiture or im ­ image understood as a naturalistic tracing. Here, then, is the creation of a universe dominated by the circle, which is no longer the celestial sphere, cele ­ by poets, scientists and various artists, but the awareness of the means, of the usefulness that becomes a signal, an indication and, unfortunately, a conclusion. The circle is the wheel useful for the dynamic movement of the means that we constantly use , the automobile, and with which we can ­ to produce not only operational convenience, but also, unfortunately, real crimes, road murders. There is no gothic or simply truculent representation; Varren places his circle-wheel at the center of everything, but does not press or slide on anything; he superimposes a dance of red triangles, empty but stable: they are the instruments ­ signs that normally indicate an accident, the classic danger and warning signal ­ to. They replicate themselves crossed and tied by the dark thread of destiny, which is not the ancient "fatum", but the wrong action of the man who, on the road (not only the asphalt one), believes he is its absolute sovereign, to dominate his path even by breaking the most basic safety rules. And in the upper part of the work ­ now, a "real" image appears: a more adult hand joins with a younger one ­ vain. And the physical and moral help that one gives to the other is a reminder of the mystical crossing of the bare arm of Christ that overlaps with the armless one of Saint Francis. Varren , in this informal denunciation, speaks to the conscience of each one.
(Mario Bizzoccoli)