VINCENZO MANCINI

My name is Vincenzo Mancini, someone calls me Vicio, and I was born in Italy, among the green hills of Southern Lazio in 1973.
I grew up in a delightful little hill town.
Closed to my home there was the cemetery, the smokestacks of a refinery and one of the most polluted rivers in Europe. My childhood was devastating.
Internet did not exist yet (this matter makes me feel old and somehow links me to ancient Egyptians) and the square objects with many pages inside were my only friends… I think they were called books or something similar.
In the early Nineties I moved (I ran) to Rome to attend the college. There I got my degree in Psychology.
I have never attended an art school, but I know the anatomy of the human body, painting techniques, history of art. In other words, I am an autodidact.
I began painting using oils; I am currently using acrylics since these colors allow giving a rhythm to my work; with these colors you need to be fast.
In my opinion, painting should be done straight off and quickly, as quick as a shot.
In my experience painting is done automatically, hands must work alone without the involvement of brain; a work should be performed in 6-8 hours, a maximum of two working sessions.
The ideal is to create at the drawing board, without proofs. If I am not at home, I do a free hand sketch, just not to forget an idea that strikes me.
Thinking too much about a work is the worst thing that can happen to me.
In my painting, I want to minimize the role of different techniques, I want to focus on the content of the message. I want to be as pure as a child, immediate as a primitive man.
Sometimes I like to confuse the viewer, other times I want to stimulate him.
Usually I want to show what is inside man, his inner dimension. Other times I am interested in the representation of those processes which are the opposite of structures.
For example, you can paint the same river in different ways, using many different techniques. But I want painting what water feels flowing into its bed; in this view, technique is a sort of contamination. In this view I feel technique as a distortion of the primitive nature of the process, as a filter of consciousness.
In my opinion, harmony is a feature of classical painting, typical of an age when photography was not invented yet. Harmony is a matter of mathematical proportions: in fact you can create harmony by Photoshop. Now a day, harmony is available to everybody and thus I do not feel it an attractive target.
In other words, harmony is to me a technical correction made by consciousness.
Disharmony arises from uniqueness and therefore is the source of my inspiration. For this reason, I call my artwork 'Disharmonic Painting'.
My creative process is focused on the way linking my individual perception of the World and the contents of the collective unconscious. I want to represent life as it is, always different and never equal to anything else.
I believe this is the only way to represent human spirituality without cunning, I desire painting an incessant flow, as James Joyce theorized in the Literature.
Consciousness has a theory of shape and color; some painters were born to represent this side of consciousness. Not me. I represent a hidden side of objects, a side where there are no rules. I paint subjects in which arbitrary opposite tendencies coexist together. The moon is an excellent metaphor for my artistic idea. It has one side lit by the sun visible to everybody but it also has an obscure dark side. Painting this obscurity is for me the door to our 'Disharmonic world'.
The most important is to be not taken too seriously... Bye, bye …

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