Finding the spot that frames
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In this picture, the artist still desires to achieve an intimate relationship with the spectator, and is asking him to challenge the environment, forcing him to face this duty and finding the spot that frames the artwork. Consider a forest. Wooden textures on the background now get a role in the picture, as sky and clouds and all the leaves and branches included in the picture. Again, these installations stand for the principle of creation.
“My shapes are reduced to the minimum, at the same time they carry some kind of an intense tension, an invisible movement; most of my patterns hide multiple visions and different perspectives. I think my art now speaks through geometry”.
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Born in Milan - class 1980 - and raised in Tuscany, Moneyless' art is characterized by an investigation of the rawest elements of life and takes for granted a process of continuous evolution. He certainly owes his graphical mark to the street, where he was born as an artist and where he grounded his roots in the '90s graffiti/writing scene. “I wanted to undress the letters from the alphabetical presence” he says – then Teo started focusing on the pureness of the shape, the pregnancy of geometry in the fundamentals of life, gradually taking distance from walls and lettering - “My efforts then dropped the symbolic meaning of the letter”.
His artistic research, relieved of the weight of a fixed form, made his style move towards a pure geometry. Moneyless' aesthetic seems to quote a Platonic vision where geometry is represented as the structure, the foundation upon which all nature is built. Fire, air, water and earth are the basic elements of existence and they come out from the multiplication of the main geometrical figure, the triangle: we'd better say division rather than multiplication, because it's through subtraction that Moneyless looks into evolution. Nature thus becomes functional to the work of art: Moneyless' essential forms are processed one after the other, and still entrenched within a structural complexity, they mean simplicity and neatness.
“My shapes are reduced to the minimum, at the same time they carry some kind of an intense tension, an invisible movement; most of my patterns hide multiple visions and different perspectives. I think my art now speaks through geometry”. The kind of art he's developing, as much as his name, suggests an investigation on pureness and simplicity of life. The artist's vision presupposes the rejection of speed, pollution, and all contemporary hurries in order to replace our attention on the purity of thought.
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