The creative of the symbol


Many thanks to Francesca Staccioli and Riccardo Campagna for the creation of beautiful iconic image of the event Cerealia. We also thank Claudio Franchi who, thanks to the collaboration with the association “IncontriEventi,” has accepted our invitation to open a research and comparison to reinvent, through his artistic language, the symbol of Cerealia creating for the future editions of the festival, limited edition of artworks and for what we hope will be the symbol of the future Award Cerealia. (Paola Sarcina and Letizia Staccioli - creators and curators of the festival Cerealia - June 9, 2011)

The pinakes are ancient votive terracotta squares decorated with relief scenes that illustrate aspects of the myths and cults dedicated to nature and its eternal cycles of birth and re-birth. From a pinax we started to create precisely the symbol of Cerealia, isolating the significant detail of the hand of the goddess Ceres, laying in the hand a small sheaf of wheat. The ear, pregnant with grains, the grain is ripe, to be cut, collected, stored. Ceres has given human beings the cereals, it is with her that agriculture was born. Backdrop to the hand with the ears of a mosaic, where the parties apparently “crumbling” and free of tiles, are nothing if not the profile of the Mediterranean (highlighted in blue) and coastlines of the countries it wet. The grain is enhanced by a golden color that stands out in particular the blue sea and a Pompeian red frame encloses all in an ideal pinax celebrating the Fest of Cereals, dedicated to Ceres and the Mediterranean. (Francesca Staccioli and Riccardo Campagna –costume designer / stage and costume designer – Rome January 15, 2011)

Following the meeting with the makers of the figurative composition representative of the event Cerealia, I gladly accepted the invitation to be engaged in a process of development of the theme created by Francesca Staccioli and Riccardo Campagna, with the aim to develop the symbolic and content of the event, relying on the need to enrich the meaning of the symbol values of Cerealia. The construction of a symbol, such as the object of our attention is the result of a mental process that summarizes the value of myth as a communication given to the image, able to represent elements of modernity and post current and viable. So I set out to talk with the creators of the symbol, and then proceed to an evolution of the plastic itself, do not give up the origin of the sign, on the contrary, citing it, it would exalt the values of the archetype. The first report presents a fragment of figurative narrative that focuses on the hand and drape. The hand is the center of representation: the palm of the hand have a memory tenacious, preserves the memory of the myth in relation to the ears of wheat, though not yet in the modeling; also highlights the value of a learned manual skill not yet dissolved despite neglect of a modernity all moved on more and more common forms of hysteria technology. The hand represents the hope of an alternative civilization forced industrialization of the planet, man’s ability to give beauty to the subject using a slow and thoughtful gestures. The drapery refers to as worn by philosophers or by order of the tellers of ancient rhetoric, when used to speak before an audience of onlookers gathered for the occasion. The drapery so dignifies his hand as a sign of culture of excellence. So the future representation of the symbol, in three dimensions, does not feel the need to appear in the communication of the project Cerealia, rather than in its expression in fragment declares the necessity of a gradual settling time, from what I thought may result in significant form and that cannot be accelerated by the speed of our time. The plastic piece that I wanted to model future outcomes announces the path Cerealia, anticipating that the paths of excellence and high thinking evolve with meditative slowness, because construction of the beautiful is wise to enjoy computing as a distillate which dispenses the nectar of his essence with the gradual release. This path is intended to be a metaphor for the work bestowed manual gestures and thoughts, wants to be the recovery of anthropological man who lived in the speed of our time in danger of losing the flavor of the passing thought of his existence, he wants to be recovering a noble history still able to perceive the teachings of the ancient masters and give meaning to their lived existence; want to be aware of the value of the work the rebirth of man through direct contact with matter, the cult of craftsmanship that goes brought back into the flow of history as a unique and unforgettable experience of human activities. Crafts and then living legend in this fragment of the image and will also highlight the close relationship between the graphic work of Riccardo and Francesca and the fragment of a work still in progress, as if they were inseparable characters of a language which no time we can give. Now this piece of representation anticipate future outcomes, the potential for its future work, its evolution in the form of the message that aspires to last in time and tell himself, as the same meaning of the myth is transverse to the time of man. Then the work of the great craftsman, is the idea that plastic is graphic, reveal the hope of a future given the sense of “doing” is not separated from that of “thinking”, the only possible world to express the poetry of myth, as the key to understand the great issues of our time and restore order and meaning to the actions of man craftsman. Only in this way an artifact like the one under construction will become work and concrete message content and the values that the form is intended to represent, beyond the logic of the worn logo, the “gadget” empty and meaningless, superficial ornament and ephemeral. Only with the valorization of the trail experience and the declared intention of the authors, to point out the formal and symbolic aspects, the work can be said to be an expression which refers to high excellence. Myth and beauty can then find their origin and return it as a happy landing place for an art that cannot give the story to be built with skilful hand. (Claudio Franchi – Craftsman and art historian – Rome, June 2, 2011)