Etymologically deleting in Latin means to close with a gate, with a grid and in the sense of deleting a writing means to put bars on a text that seem to be a grate, a barrier.
When one reads, one makes a linear path, one follows a direction, one places reasoning in the understanding of words that together express a concept. We follow a syntax, there is a spelling. In reality, therefore, an ordered set of signs is decoded. There is a sequence of lines or even columns with symbols united to communicate, to certify something that is memory, culture.
Words, as well as a traditional text, can be a whole that indicates a place, a territory, a logical syntax that represents a geography.
So we have words that on a support construct stories, poems, stories, concepts, obviously in their own bond of continuity.
What can be aesthetically interesting the representation of a text itself, in its pure evidence? Does a sequence of words lead to art? Of course, it is the sense that is expressed in the concept, a poem or a fairytale or a famous quote, but visually we have a listless continuity of signs, except in cases where the character of the letters carries a greater graphic articulation.
Contemporary art gives us unusual contexts that show us how technology, everyday life, the consumption of our things is both a consumption of ideas, a breakdown of traditional interpretations and relationships.
Aesthetics, beauty, is a mental evolution, it is a speculation that serves well beyond the limit of banality, it is the reworking of codes, even visual codes.
Today our typewriters give us text on monitors, we have pixels that resolve the image as impulses, the eye is bombarded in the concentration of light points. It happens that if we read a text with a black background and immediately after we change vision remains for a few seconds the nuisance of the shadows of the lines, remains a strange feeling, we have the idea of forms that are inherent in a writing. We have forms, therefore, that with a strange effect show us a hyperuranic aesthetic context of reading.
So here we can imagine how a painting can come out of the geometric abstractionism of Mondrian, who used colours, as well as from the “DELETE” of Isgrò.
Here we go back to how it started this article, the closure, the barrier.
Non-art or criticism of the aesthetic sense is an integral part of many contemporary poetics, that is, of that significant content that is inherent in the work.
The artistic proposition is the gesture that traces a path, a road where beauty becomes intellect. Aesthetic research is a visual reconnaissance in which reality gives its pleasant or unpleasant feedback, is a confrontation with the conscience of the user who finally expresses judgment.
The more in the conscience there is a stratification of the good, the more there is the possibility to interpret a hidden aesthetic signal, a concept of the beautiful that is built and nourished by meditating, reasoning, asking questions to give answers that bring values.
Isgrò in his poetics cancels and creates art, expresses obvious barriers first linguistic and then aesthetic or perhaps first aesthetic and then linguistic.
In beauty there is the concept not only objectivity, there is the hidden part that a sculpture or a classical painting make manifest to our knowledge through natural mimesis that is directly proportional to what we are, to what we see, to what we are familiar.
Artists like Picasso, Burri, Hartung, Fontana, Kosuth have taught us to see the world with what is beyond our eyes, they have directly brought us aesthetics on an incomprehensible plane, they have given us the fundamental passages of contemporaneity. Contemporary art puts us before a tragic history, incommunicability, the search for values in ugliness, the thrust of new existential relationships.
Contemporary art lives in contradictions, Isgrò exposes to us a way of interpreting ourselves, another perspective.
If the previous art had not existed, humanity would be flat in a single objective interpretation of a colour on a page, of a cut in a canvas, there could be nothing else. But first there was everything that allows us to make a difference.
Isgrò traces the differences, erases the words to show a catharsis, to give them the real importance in daily consumption. It’s a destruction that leads exactly backwards, adds instead of removing!
Sgrò is a man of letters, a writer, a personality of the literary “neoavant-gardes” of the ‘900, a person who thinks writing and breathes reading.
He is a poet who reverses the canons by “attacking” writing to find strength in it and give it even more. A poet who is confronted with Montale, with Pasolini, is an artist who gives art another visual hold, another aesthetic concept by transforming the writing.
Sgrò contrasts with the dominant intellectual hierarchies while he is part of it, he is a genius and says of the “erasure”: “…the erasure develops as a cathartic action that does not seek confrontation with social principles, but undermines the foundations, freeing the viewer from a passive position of pure contemplation.
Sgrò does not reach abstraction, elimination, by exclusion, but makes the erasure the real subject, negation is the premise of the affirmation.
The erasure interrupts a communication, giving an unpredictable meaning to its manifestation.
There is therefore a profound cultural provocation in Sgrò’s expression, which gives new life to the word to recontextualize it, a catharsis that attacks the fundamental cornerstones of knowledge with the erasures of important written works:
- Treccani Encyclopedia 1970
- The Constitution of the Republic 2010
- The Manifesto of Futurism 2013
Cancellation is a powerful act, it is a creative act that wants to change the devaluation of language, it wants to change the world.
Communication is a path in which the void is an instrument that apparently interrupts a message while amplifying it in the consciousness of finding it, reconstituting it, re-setting it for a new understanding.
Isgrò is a literary poet, a poet of visual writing and author of a theatrical trilogy “L’Orestea di Ghibellina” carried out on the ruins of the country destroyed by the earthquake with the participation of the entire population as a testimony to resurrect after the catastrophe.
The erasure is therefore a motion to life, the dismay is a reason for erudition, for inner and social reconstruction.
The word must therefore be known and known to interpret for a relationship between people in which men have a fundamental tool to demonstrate their freedom.
Isgrò puts us in a position to be active readers and review the world, to rediscover thought and give communication an ethically positive property in language and its development.
Isgrò gives us the mature sign, the furrow in the desert, the ploughshare of the plough that deletes the consciousness of life, the birth, the growth, the storm and a new reading, a new word in its true essence and not in its decadence.