Pillart is a collection which is inspired by Pillarguri (a dark black slate from Norway characterised by needle-and dotshaped
inclusions) and yet approaches the world of art. The project is inspired by the need to add a new product to the
range offering porcelain stoneware which is visibly similar to a stone occurring in nature. My response is based on the
idea of a product that offers the required features and also its opposite: not just one but two distinct surfaces inspired
by the same concept. Around this concept, which itself gives voice to a strong expressive synthesis hinging upon the
minimum, I have developed a number of different customisations inspired directly by this synthesis. My goal, which the
company immediately agreed to support, was creating a combination of artistic and technological expression in which
a simple idea is interwoven with an industrial process: through a natural surface for interiors based on the chromatic
minimum of a positive and a negative, and a very rough surface for outdoor use, representing the outdoors by day and
by night. We live in a chaotic age, and I think it is healthy for us to take a new look at things going back to the essential,
back to the minimum, to see how we can organise development. The minimum, if organised in a certain way, can
generate great wealth originating in the true freshness of simplicity. Pillart is basically a collection of two colours: black
and white, the basic colours of the expression of visual theory and analytic expression of thought. In the end, with Pillart
I made the calibrated choice of veering black and white into two hues of grey, one light and one dark, which in any case
maintain a clear visual contrast. It is reminiscent of the combinations of different shades of grey used by Brunelleschi,
such as those you can see in the Pazzi Chapel in Florence, which remind me of Bruno Munari’s great negative-positives
and allow me to see them in a new light. We know that light and dark, linked with black and white, are hues that can
perfectly interpret the conceptual vision of reality through comparison of opposites, such as ying and yang, the day
and night of ancient Chinese graphics, ”to be or not to be” of Shakespeare’s Hamlet, emptiness and fullness, fear and
boldness, absence and totality, quiet and noise, complexity and synthesis. What I mean is that two different hues can
dialogue in a universal language.

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