In the attempt to "understand the world", a good part of my life has been spent thinking and observing seeds, trees and stones, organic forms and the materials of the territory.
Inert matter does not exist: the evolutionary force is at work throughout the universe. We are all inextricably bound to nature, where every form flows into another in a continuous movement.
A person born in one of the infinite points of the planet's "skin" cannot help but start from that very point; and if they grew up there as well, it becomes almost impossible not to.
One's native place, with its forms and its materials, can become the training ground for an aesthetic and biological research that reconnects them to the beings of a global, even cosmic, whole.
The artist's profession performs a creative task that society needs: it drives us to observe, to know, and it reconnects our skills to a multidisciplinary openness. Swirling the colours inside a tin of paint, one can glimpse the movement of a galaxy.
In a stain one can look for the universe.
In a puddle, the sea.
The flowers and insects of the garden open to the sun and behave like those of the great forests.
In evolutionary terms an ant is worth as much as an elephant.
Every stone of our mountain can be suited to imagining and designing a sculpture, as if it were the bone matter of planet Earth.
By observing how a small mountain and a pebble are formed and how they work, one understands the great mountain ranges.
Safeguarding even a single living being in its habitat can help protect the fauna of the entire planet, because everything is connected. Even by deepening our knowledge of the smallest flora we can imagine, and try to understand, the great forest. The "global citizen", living at one point of such an immense and varied planet, can in this age help to sustain the whole natural system while acting a few metres from home.
Never as much as now has art needed to be thought of and looked at in its social and ecological function: no longer in relation to a beauty that is an end in itself, but as something that knows how to embrace the just, the true and the good, in the imaginative and intuitive idea, in the search to understand, to make people more empathetic and sensitive towards the rest of the world.
My art is precisely an attempt to show how, in the forms of seeds, there are organic resonances that reconnect humankind to nature, in aesthetic and imaginative associations and connections.
— Pasquale Liberatore