Equilibrium is nothing but nonsense.
You can force yourself. You can cheat, run up debts or come to a pact with the devil. You can find alternatives.
You might hire someone who hold you from your bottom.
Despite that, you’ll fall. You’ll slide down, through the attracting air which swallows you. As the equilibrium is nothing but a feeling, an heritage. Someone thinks it’s the perfect excuse or a work. For some others it’s just fun, a lie to keep alive for the whole trip, being barefooted on an invisible line, but rather sharp-edged, with open arms, pretending once again to fly. In the name of a thrill, from the sacrum up to the shoulder blade.
Equilibrium is real only when you feel dizzy, when you have the concrete fear to lose everything. Forever. The imaginary links are cut and while sinking, resist since the very beginning to any equal and opposite force allowing any type of stability. Finally falling in love with an equilibrium which is “different”.
As if a different equilibrium could coexist.
This is the key point, you’ll need such a talent to look at these works like a common denominator underlying every man’s life. As lives are all equals, after all.
Edoardo Bernardi’s recent works have outlined an unparalleled cycle called ad hoc “Different equilibriums”, characterized by a well-defined alpha and omega.
Then the pure realization: the love for precariousness. Only precariousness harmonizes the equilibrium. It makes it possible. Uncertain. And probably stable. The awareness we are body masses, and as such, submitted to the law of gravity. A law attracting us towards the ground despite the challenge is to stand on your own feet as much as possible. And look at all those people who can just try to feel this sensation. And in these“different equilibriums” you can perceive other than suffering or a conviction. A game instead. Even in the instability the equilibrium becomes necessary.
But the artist doesn’t decide this, he doesn’t declare it, he just wants to catch the right moment, where everything can still happen, everything is possible, where the destiny is unknown: because beyond actions, there’s something we are destined for. Unaware that this moment is an ever-lasting moment.
An animal, such a rash horse playing with its equilibrium, turning himself upside down. And the striking and extraordinary beauty which terrifies you, resides in the light shape, in a mystic lightness, which should concretely weight, in his body mass but it is insubstantial instead, soft like a feather surrounded by fancy, bright colours somehow tending to the artificial.
Like two lean and thin legs spreading their wings standing on the brim of an empty glass: long and light limbs, which seems to be dancing like in Matisse’s dance. Notwithstanding the daring comparison, the same fragility can be noticed, since the same dancing movement can make you fall. Being it a piece of world or the brim of a glass, the difference stays in honesty: Matisse shows an ideal and utopian harmony. Here, the artist makes you rather feel the whole heaviness of reality, of man’s misery, and it is there that you can find your ruin: whatever may happen we’ll fall, we’ll be called one by one, bearing our own burden full of little tons of life.
All paintings are connected by a well outlined fil rouge. In this allusive, uncontrolled twirling, which is Matisses’s dance, the figures who were first holding their hands are now sitting, exhausted, like fighters after a match during which they have badly been kicking the air.
And there you see, in an overturned symmetry, with arms and legs stretched out on blue squared carpet. As if they were fluctuating on and with it. It’s the showdown. The loneliness any precariousness imposes.
And still the woman, who’s sitting on a thin and fragile chair and evidently suspended among contrasting colours, and looking like a Maya Desnuda painted by a today’s Goya using a gestual painting technique. A devastating strength if it is not balanced and thought in a proper logic. A Maya, not lying and calm but picking herself up and restless, like who is going to move but without guessing her next move: she could cross her legs, she could stretch them out, or even go on a chair and tempt something like fortuitous stability.
The analysis of this pictorial cycle doesn’t reply to the main question: is equilibrium really necessary to feel yourself “in equilibrium”? Do we have to look furiously for equilibrium or can we feel as such even though it is absent.
According William Kittredge falling is essentially approaching the world. A change in perspective, differing from everybody’s view is then necessary. And the cycle ends with the overturning of any mental and physical concept. The sequence of painting bring to the reversal of the figure, which falls or simply creates its own unique and different equilibrium. Ultimately, the artist invites us to not trust to the faithful vision of reality, but to go toward an unknown and never explored land, believing this will bring back a new vision of the man and of the world.