Stefano di Loreto creates his latest series of works titled “Viva la Vida,” a collection of artworks that reveals one of his mixed techniques, the dialogue between abstractionism and everyday objects inserted in the artist’s conceived context, considering the relationships that objects have with the human condition, the environment, and the understanding of the world.

Reflecting on the relationships of objects taken out of their everyday contexts, we can perceive that a complete understanding of these objects depends on their insertion in a broader environment. Philosopher Merleau-Ponty highlights the notion of “intentionality” of perception. He argues that perception is not a passive activity but an intentional act in which we are always directed towards the world and the objects within it. Our perception is shaped by our intentions, interests, and contexts. His approach emphasizes the importance of embodiment, intentionality, and perception as fundamental elements in understanding objects. Merleau-Ponty argues that objects should not be considered in isolation but as part of a context and a network of meanings. Through our bodies, we engage in a process of perception and interaction with the world around us. Objects, in turn, play an active role in this process.

The series emerges from a period of shadow, where each brushstroke carries an intimate connection with both time and the eternity that art provides. The post-illness paintings are a celebration of renewed life, an affirmation that even when we face our most challenging moments, artistic expression can be a beacon of hope and healing. Stefano di Loreto’s series is a testament to the cyclical nature of life and a reminder that we are capable of transforming adversity into lasting beauty. Each brushstroke is a manifestation of the artist’s personal journey.

The artwork titled “Viva la Vida 03” explores the relational experience between the artist’s brushstrokes and the presence of gray clock gears. The complementary blue and yellow gestures intertwine with the accidental nature of paint on the canvas, overlapping with the form, creating a sort of explosion and rupture. The detachment, relief, and aesthetics of the gear in question are part of Stefano di Loreto’s highly mature research. It is through dialogue that his artwork develops and lives, as the movement of colors interacts with the solidity of the object, the artist reflects on the human possibilities of creating and destroying, of self-destruction through creation, of creating by destroying—a paradox of human life and an argument about the existential understanding of time. What is the true time? Is it the trivial immersion of everyday life or the confrontation with the reality of our transience? Temporality is characterized by projections and events, and time resides in a totality, in a horizon of possibilities.

Time and change are the conditions of life, and it is within this life and its instinct that the desire to be happy and to express joy is born. “Viva la Vida” is a homage to the experience of the body; it is a protest in favor of life, a defense of relationships, art as resilience, time as a value of life, and the dialogue between the body and objects. The return to the studio is a powerful reminder that creation is an essential part of who Stefano di Loreto is. Even in adversity, art is his compass, guiding him through the most difficult moments and allowing him to find beauty wherever he may be.

Stefano di Loreto continues to evolve as an artist, exploring new techniques and experimenting with different forms of expression. His tireless pursuit of artistic evolution and unwavering dedication to his creative vision have established him as one of the most promising artists of his generation.