From "Mythical Analogism"
Milan, 27th April 2000

Necessarily in relation to the homologated methodology of the Internet information system, a synthesis of ideas of the master Gianni Brusamolino has been inserted in his personal site - protagonist of the field of short contemporary art and clearly motivated in the generational historical framework.

Since, as in the title "Mythical Analogism", the "analogy" constitutes the connecting link between the tout-court flowing reality and the intrinsic trembling sublime "metaphysical" reality, "the analogy" for the expressive-creative iteration of the artist has to be gathered as specular support of pregnancies and common existential realities, in which with great awareness and through our specific language engages what received configured of creativity mysteriology. 

The base-line had always formed the base of my concettive thought on making art today; theoretically consisting on the aware utilisation of innumerable and various factivity elements, collected in their real and tangible order as for example: the idea of nose, eye, of words, of a horse, of an oboe, of a contrabass, of a newspaper sheet and so on. All natural elements, known as obvious by the most in their obsolete-functional-practical structure. Such a conglomeration of factivity elements, once positioned with criteria in an ideal space “it is as if the artist is using the memory of someone else”. 

Memory of real data marked by the daily aspect of their immediate needs. This because the artist considers them as sediment of his ethos, in the exercise of the creative-inventive arbitration, such elements in their daily tangible-functional-obsolete typology, magisterially connected to the cognitive mysterious value of the creative imaginary, vital substance of work inveration, which will be part of the art, since it will give back, for those who are observing it, together with memory, or better through each one tangible element (if all goes well) a highly human typology of enriched and enriching value, typical of an unsuspected or at least revealing objective universe of poetical Aesthetic.

The aforesaid idea does not change the founded specular philosophy of mythical analogy, but on the contrary modifies the conglomeration of tangible elements such as canvas spatial support, variety of colours, physical limits of canvas, point, vertical and horizontal line, all concrete elements which can be found in everything world-wide, everything manufactured (if observing carefully) using the curve line and straight line segment as the basic element.