Starting from a heterogeneous set of cultural traditions, Mauro Pipani realizes works that serve as the life documents of an eternal present. By privileging stylistic repetition and aesthetic immediacy, creating an art that can be primordial, at the same time meditative and hermetic. For this reason, Pipani's career is characterized by evolution of thematic cycles, rather than by a strictly linear development. The obvious - poetic, spiritual, and informal influences - appear throughout his work as acknowledgments of his desire to return to a universally accessible source of inspiration.
In his paintings, drawings, installations and exhibit design practices, he leaves in the space of liquidity changeability where he creates a repertoire of perceptions. Her aesthetic and philosophical positions seem to be constantly moving. At the same time, he developed a precise vocabulary in which morphological ambiguities are confused with a tension that enhances the cognitive will; The minimal signs, the layers of overlapping color and the scraping, the lumps, and the fragments; becoming artisans of semantic overlaps.
A mapping of the landscape marked and crossed by stratifications of gauze and used papers of dirty diaphanous colors in which the newspaper is masterfully redesigned to become more. Ethereal is an aesthetic mental space, brought back on the canvas, in which we can see and hear the emergence of new tales.
Where does he take us to bring it? In a vortex of poetic signs, whose diaphanous ribs in the image, in which they are always subject to new visual and continuous epiphanies. As such, rely on the most complete range of sensory and intellectual experiences.
Although Pipani does not seek to offer radical statements; rather, as it is performed in its compositions expands a subtle 'non-nostalgic romance always on the border of abandonment', in which the understanding of details, fragments and landscapes of everyday life generates a vision of the moment, alternating imaginative atmospheres to transpositions of the sublime. It forms a complex interweave of feeling, perception, and understanding in which the meaning is drawn. Their range, then, is composed of conscience, as it sits on the tangible facts of the world, blends with the materials, the colors it encounters transforming what it sees.
In this anamorphosis taking shape similar interaction to other artistic practices. Of which I quote analogies, and articulated common language strategies similar as Australian artist Jessica Rankin who realizes ‘mental maps’, with codes, signs and symbols that explore ideas of memory, intuition and interpretation; at times with the sensitive practice of painter, sculptor, writer and philosopher Lee Ufan one of the major theoretical and practical proponents of the avant-garde Mono-ha (Object School) group.