Statement:

On the occasion of Art City 2023, the Studio la Linea Verticale gallery, in collaboration with the collection of Mario Iannelli, presents the bi-personal Terreno-Ultra-Terreno. The title suggests a multiple connections between our dimension and the one that, instead, refers elsewhere and immediately identifies the positioning of the two artists in play. Navid Azimi Sajadi (1982) was born in Tehran but is cosmopolitan; never staying long in one place, his country is the whole world and his home is his interiority. Vettor Pisani (1934-2011), "poor and famous artist", as he defined himself with an inscription on the wall of the Limen Gallery in 2011, needs no introduction, he already lives in his Celestial Crystal Theater. The connection between the two is above all experiential: Navid, having arrived in Rome, frequents Vettor Pisani and, together with the master, trains vertical sensitivity. ///

A formal affinity is also evident: the brightly colored palette, the predilection for the gold of immortality and the blue of infinity, the recurring use of alchemical, esoteric, religious, cultural, mythical, biblical, mythological, and above all, the peculiar use of the shape, a graphic influence passed from Gino De Dominicis to his friend Pisani, which we also genetically find in Navid's work. The silhouette they present to us is like the shadow of Plato's cave myth, a copy of reality that suggests a hidden mystery which, if illuminated, would reveal the Reality of things in themselves.The imaginary of the two artists with a dual essence, between ordinary objects and extraordinary subjects, is a compromise that invites them to a continuous and frenetic reflection on the contrast between the horizontal line and the vertical line, although deeply belonging to the latter. In Navid's series on paper, each object born by making the bridge is nothing more than a symbol everted through effort, a powerful externalization of an abstract and occult meaning. Vettor has based his career on the game of metaphor, so every stimulus he offers us does not die in his simple visual perception but continues to live eternally in its meaning that can be grasped with an intellectual commitment and an act of faith.