“Art “becomes” in the same progression: it pursues man in his madness. In oscillating beyond substance, it itself tends to evolve into multifaceted and colorful market material”.

Gian Vincenzo Monni (Nuoro in 1965) stands in antithesis to the media and consumerist frenzy, in favor of a rational vision of the existential condition where the aesthetic gesture becomes regeneration. In a union between ethics and aesthetics, the artist traces an apocalyptic vision of humanity, alienated due to a modus vivendi conditioned by appearance and artifice, whose only possibility of salvation consists in the awareness that can only be achieved through a rational dimension, with the primary objective of creating an ideal space that acts as an interactive space. An intermediate context that conceptually determines a constant exchange between internal and external, between the self and the other. The function of art is to become itself an ideal space of connection between intrinsic and extrinsic, recites one of the foundations of Aesthetic Rationalism of which the artist is the founder, for a research that aims – through the archetypes of the unconscious – to restore to man that centrality with respect to himself and what surrounds him, according to an anthropocentrist tendency that it flows into what is defined as the cosmological anthropic principle, that is, that set of delicate balances that allowed life to originate.

The form and its continuously evolving evolution is the cornerstone around which Gian Vincenzo Monni’s poetics revolves, a pretext to mark the phases of Aesthetic Rationalism and the object of analysis of the video in question. Sinuous shapes in continuous movement that emerge from a dark background are emblems of an awareness that emerges from the depths through that condition that is based on rationality. Primitive symbols, symbolic icons of intellectual and spiritual potential contract, floating on the impetuous notes of Michael Nyman.