Da I fiori del male, Les Fleurs Du Mal, 1857La Natura è un tempio dove incerte parole
mormorano pilastri che sono vivi,una foresta di simboli
che l'uomo attraversa nei raggi dei loro sguardi familiari.
Come echi che a lungo e da lontano tendono a un'unità
profonda e buia grande come le tenebre o la luce
i suoni rispondono ai colori, i colori ai profumi.
Profumi freschi come la pelle d'un bambino
vellutati come l'oboe e verdi come i prati,
altri d'una corrotta, trionfante ricchezza
che tende a propagarsi senza fine-
cosìl'ambra e il muschio, l'incenso
e il benzoino a commentare le dolcezze
estreme dello spirito e dei sensi.
“In the lead up to making these pieces I became fascinated with the idea of a cathedral of sound,” says the
artist, “I was working with Radiohead on the record that was to become The King of Limbs, and my early
hearings of the music seemed to suggest an overarching canopy of detail.”
The band’s ambitious compositions triggered a synaesthetic vision in Stanley. “I had a kind of memory that the
fluted columns and ceiling tracery of medieval churches owed its inspiration to the northern forests of Europe;
the tall tree trunks, the interlaced branches above, the majesty of the woods. I wanted to take this caged spirit of
the trees back into the forests, where sounds were free and un-tethered by religion, where the spreading
branches supported the sky, not the roof of a church. I began to paint trees, bright, coloured trees, through
which dark mists could percolate.”
(Stanley Donwood; Press Release- Far Away is Close at Hand in Images of Elsewhere; http://www.theoutsiders.net/content/pdf/press/2013-09/stanley-donwood-far-away-is-close-at-hand-in-images.pdf)
thanks prof. Billo Livio, University of Padua.