Chiara Rostagno

Fabrizio Musa and I have had conversations about art for years (now more than 16).
In particular, during these dialogues I had in several circumstances the privilege of “seeing it born” and of following Fabrizio's creative path, in making himself of him.
Conversing is a magnificent term and, in art as in architecture, it defines a heuristic moment that is sometimes necessary, which pertains to its etymology: it is the act of "being together" and "knowing".
When Fabrizio's work has a profound dialogue with architecture and landscape, we talk about it for a long time. In the synthesis of black and white and in the apparently binary grammar of his works, a stubborn research is condensed.
In the urban vision of the mural work, in this case the idea of ​​re-presenting, or setting the architecture in different places (as happened with the works of rationalism) changes radically.
Fabrizio talks to me about "Mirror", slipping into one of the most complex themes of art and life (in the difficult alchemy of references between image and reality, between truth and vision, between dream and self-awareness ).
The painting dialogues with the original and its perspective places the observer at the center, who should - almost instinctively - turn around to look for the bulk of the Cathedral. But he can't, he can't do it because of the architecture that stands in the way. To find Juvarra he will have to follow a path, as always happens, to get what you want.
But what should he be looking for? A lost and rebuilt work by Juvarra after the dramatic fire? He therefore seeks a work lost forever in its material substance!
It is a metaphor: it is the metaphor of a lost memory, to be found only in the mind.
It is a mirror, of course.
Juvarra.TXT was born, thanks to an enlightened client and to remember with art the living memory of people who have touched those walls with their lives and their dreams of freedom. The choice of a work of an urban space is a magnificent form of participation in memory through the search for beauty in the city (in those urban interiors - as Ottolini says - "made of light and air, in which we are inside and which we even breathe ").
For all these ideals, there was a lot of emotion when the scaffolding was dismantled and the work entered the space of urban life: I followed it from a distance - but with trepidation.
Everything happened in a metaphysical silence, as it should be.
It will speak to the time, in time.