Welcome to the fantastic world of Luigi M. Verde, a metaphysical place where the author passionately celebrates the creative fusion of his two souls: Art and Science. Luigi was born in Melfi, in the suggestive South of Italy, in a distant spring of 1969, an era in which digital art was still a distant and futuristic concept. During his studies in physics and cybernetics, he discovered a deep passion for black and white photography and the darkroom.
For over three decades, Luigi has been conducting a very personal research that combines his interests in philosophy, programming and natural language, with the irresistible desire to express himself artistically through photography, the creation of digital paintings and the creation of books. 'art. To avoid remaining in the shadows, he actively participates in numerous cultural events both in Italy and abroad and is actively dedicated to dissemination.
Luigi's intent is to create artistic works that enhance the complexity and vast range of combinations of the digital world, without however neglecting the importance of gestures and artisanal knowledge. What makes his works unique are the manual interventions carried out during the printing phase, which give a more personal touch to each creation. These interventions allow you to convey a greater emotional impact, elevating its meaning to a higher level.
Luigi's art is conceptual, where, like a detective dealing with problems of philosophy and linguistic whims, he tries to give shape and conception to ideas. Each creation is an enigma to be revealed, a world of profound meanings waiting to be deciphered and told. Luigi defines himself as a visionary artist with an ironic, informal and extremely synthetic approach, with one foot firmly rooted in artistic tradition and the other in the digital age.
We invite you to explore the gallery of his works, allowing yourself to be emotionally involved in the whirlwind of ideas and suggestions.
Certification established in collaboration with Akoun, the world leader in art market information since 1985.
Artist Value Digital Arts 2024 | €1,200.00 ($1,398.84)
Certification has been established by Jacques-Armand Akoun on Jan 10, 2024.
My artistic practice consciously moves in an area of undecidability, inhabiting that liminal space where photography, drawing, painting and writing converge in an uninterrupted dialogue. I do not consider this hybrid approach as a simple sum of techniques, but as the affirmation of a poetics that recognizes its generative core in the tension between different languages. Although my works present manual interventions, geometric signs and material stratifications, I consider them fundamentally post-photographs as they maintain a profound connection with the indexical nature of the photographic medium. This media ambiguity is not indecision, but an active semantic strategy.
I am particularly interested in what Jacques Rancière defines as a thoughtful image, an entity that does not simply illustrate a pre-existing thought, but constitutes a magnetic field charged with unresolved tensions, resistant to univocal meanings. The work thus becomes a space of perpetual oscillation between apparently opposite polarities: technological automatism and manual gesture, documentation and creation, material presence and conceptual abstraction.
My creative process reflects this threshold condition: photographic elements are deconstructed and recontextualized, but never completely denied; pictorial interventions assert their materiality without erasing the underlying photographic trace; geometric signs impose a visual order that dialogues with the organic complexity of the captured image; words insinuate themselves between the visual layers, not to explain them but to amplify their ambiguity.
This hybrid practice mirrors our contemporary reality, culturally and technologically fragmented, where images, texts and data constantly mix. I am not interested in resolving this ambiguity, but in consciously inhabiting it in a contemporary landscape, where distinctions between artistic disciplines become increasingly porous.
What happens when photography ceases to be a simple representation of reality and becomes an active form of thought?visio(so)phie, foto[so]phie, and meta{so}phie is the title of a vast theoretical and visual project that presents itself not merely as a short essay, but as a true conceptual device. A hybrid work in which visual art, philosophy, and language meet, collide, and transform…
There exists an intimate and hidden space where reason and madness meet, giving birth to a visual archaeology of the human soul. In this work, I seek to inhabit that fragile fault line where meaning trembles, reconstituting itself in new and unexpected forms...
In the hidden heart of our interior landscapes lie "common places" that no image can ever fully tell. Yet, paradoxically, it is precisely through photography that these spaces can speak to us again, revealing that dimension of experience that contemporary speed has made invisible. What makes a place "common"? Not its banality, as we might think, but rather the excess of meaning that makes it transparent to our accustomed gaze.
Have you ever looked at a photograph and felt completely free to interpret it? That freedom, which we often mistake for expressive richness, actually hides one of the deepest paradoxes of contemporary visual communication. Every time we find ourselves faced with an isolated image, we enter an unstable semantic territory, where meanings multiply and disperse without control.
In his Novum Organum of 1620, Francis Bacon identified four categories of idols, false notions that hinder authentic knowledge of reality. These idola represented four cognitive vices that prevented access to truth: the idola tribus (of the tribe), rooted in human nature; the idola specus (of the cave), deriving from individual inclinations; the idola fori (of the market), generated by social language; and the idola theatri (of the theater), produced by dominant philosophical systems. Looking at the panorama of contemporary art with the diagnostic acuity of the English philosopher, a worrying picture emerges: today's artistic system seems pervaded by mechanisms that closely resemble these ancient obstacles to knowledge.
The ancient statue, with its marble perfection, represents the human aspiration toeternity through form. But it is in the photographic trace, in its capacity to beindefinitely reproduced and reinterpreted, that the true nature of the contemporarysign manifests itself. It is not decoration, but arcane substance: it is the archetypalcode that Derrida speaks of, that original form that allows thought to existindependently of the one who thinks it.
The silence of the soul is a state of total receptivity, a condition of deep listening that precedes any form of authentic knowledge. “La pietra che respira è quella che ha conosciuto il silenzio dell’anima” becomes both metaphor and reconciliation of matter that has transcended its inert condition, through a spiritual metamorphosis and thanks to an encounter with contemplative silence.
Three identical muses and queens, draped in elegant evening gowns and their faces concealed behind bovine‑skull masks, conjure a modern echo suspended between classical tragedy and medieval sacred pageantry...
Three identical muses and queens, draped in elegant evening gowns and their faces concealed behind bovine‑skull masks, conjure a modern echo suspended between classical tragedy and medieval sacred pageantry...
This stone is an oxymoron sculpted by nature and chance, geological memory and instantaneous fracture, polished like an ancestral thought on one face and torn like a sudden trauma on the other...
A statue, millennial emblem of formal perfection, becomes a battlefield for opposing forces. In the interstice between truth, freedom and world, opens the scarlet wound that breaks and traverses the work, not a scar but rather a revelation, a tear that unveils the impossibility of harmonious synthesis....
Peace is not a place to reach, but a gaze to cultivate. A gaze capable of seeing the light even when the clouds seem to have conquered every corner of the sky. A gaze that can recognize, in the cracks of the world and in the wounds of existence, not only the fragility of what passes, but also the stubborn, wonderful persistence of what, despite everything, continues to flourish.
In the panorama of contemporary aesthetic philosophy, few concepts shine with such an intense and revealing light as that of the thoughtful image, masterfully theorized by Jacques Rancière. A conceptual constellation that, like a prism, refracts and reconfigures our understanding of the visual, inaugurating unexplored territories of critical reflection and aesthetic sensitivity.
In this space between traditions and new visual languages, between virtuality and physicality, between concept and matter, I find my most authentic expressive dimension. I am not interested in resolving ambiguity, but in inhabiting it consciously...
The fusion between the intimacy of personal storytelling – a love declared through the lens – and universal reflection on art and time
Introducing "L'ho visto con gli occhi di un clown" from my blog:
#photography #portrait #blackandwhite
Introducing "Se mi fai il ritratto ti sparo!" ('If you take my portrait, I'll shoot you!'): a black and white photographic exploration of the conflict between the craving for visibility and the ancestral terror of being discovered.
#photography #portrait #blackandwhite #contemporaryart #IfYouTakeMyPortraitIllShootYou
Fragments of an internal dialogue in black and white. Ruins, islands, silences and the enigmatic gaze of a she-devil. In this work I explore the labyrinth of existence, the fragile beauty of disenchantment, the secret melody that beats in the heart of lost things. A photographic journey into the soul, in search of an obstinate quiet and a truth hidden in the folds of the shadow.
I share with the readers of Artmajeur a new post published in my blog on the relationship between photography and language:
I share with the readers of Artmajeur a new post published in my blog on the relationship between photography and language:
