Rossini’s artistic research stemmed from the premise that many of the dynamics proposed in the Manifesto Futurista in the first years of the twentieth century, have in fact been materialized in the hyper-technological society of 2000, and, through his research, the artist analyzes their consequences. The language of Rossini has therefore become a language made up of tensions and contrasts between two distinct types of materials: the first, which are often natural, are identified by the artist as the “primordial” and cultural being of Man; the second is iron, in which he identifies the fundamental key to a critical analysis of technological development, seen as hectic and alienating. Rossini assigns the iron this specific significance because, in his historiographical view, with the the introduction of iron, the technical possibilities of the human being are increased, allowing the previously unimaginable results to be reached, generating a pattern of thought and behavior directed to the progressive optics cited above. These clashes lead us inevitably to the “poetics of rust”, seen as the patina of age, as a cancer whose ultimate goal is the reaffirmation of the natural cycle. The artistic work of Nicola Rossini was born as a communicative language in which to enable expression of conflict between the two aspects of contemporary Man, denouncing the alienation of modernity.
The breakthrough of Rossini’s work is characterized by a radical change of his aesthetic language, resulting in the increasingly frequent use of the technological mediums of our times and in an exploration of possibilities that they offered.
Rossini started to create installative situations where the elements and the fundamental goals of his research are merged with technological aspects. This choice is an implicit proposition of a thoughtful and constructive use of technology, inasmuch as conscious members of the current, hyper-technological society.
Simultaneously, his project, which works to create an alchemical language based on the assignment of human meanings and concepts to different materials, brings him to introduce water into his creative process.
The artist starts to conceive the water as an element of “cosmic memory”, placing it as a narrative support to some of his work.
In the artist’s language, the symbolism becomes the ultimate component of the relations between the materials and the exploitative artistic means, this expresses a willingness to meet the social and shared need of a rediscovery of substantial and constitutive reality, without abandoning or rejecting technological process.
This young artist wants his work to raise in the viewer some reflections about the thinking pattern of the postmodern human, perhaps to inspire new usages of technology.