CELLA’S FIGURAL POETICS
FAIRY TALES, METAPHORES AND FIGURAL APHORISM
…When Gianni went through the rabbit hole and explored his new World, he found out that, as if by magic, he could turn ideas, names, proverbs and idioms into characters of a tale: heroes in action, heroes seeking their identities, just like the heroes of fairy tales or Bildungsroman.
In the Meta-Art & Ad’s Kingdom, where quotations are the rule – in a semiotic play which alludes to the emptiness of Sign and of its infinite reference – Gianni Cella tries to restore the metaphor and to fill it with new meanings; he tries to explore the symbols of the contemporary collective imaginary. He does it with the consciousness of the “Death of God”, of the broken-up myth of “Absolute Truth”: “Nietzsche would appreciate this form of art, because he loved the ‘wavy, dancing, sneering and childish’ art, which is still necessary to not loose the freedom of the mind to rise above things, to not distinguish players by the play itself. […] I believe that Cella’s characters could be defined figural and conceptual aphorisms, since Cella’s works offer themselves as a decentralized, plural and troubled thoughts. Figural aphorisms eschew unilateralism, and strike the myth of “Truth”, forcing the thought to go further, to give up every stable knowledge” (pp. 3-4, in M. Vescovo, Gianni Cella, Studio Vigato, Alessandria, 2005, qtes. free translation from Italian).