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MAGNETISMO LINEARE
THE PHILOSOPHICAL TREATISE ON THE THOUGHT OF ART
by Ida Saitta
"Linear" Magnetism originates from the refinement of the preliminary principles of various 20th-century artistic movements. It is the logical culmination of a century of human experiences and conceptual developments. It represents an assemblage of theories that, in unison, convey anti-physicality and concepts such as abstraction, conceptualism, metaphysics, dualism, and transcendence. Linear Magnetism aligns itself with Abstraction, as it similarly strips away and frees itself from all academic conventions, expressing traits with the immediacy of the stroke. These traits, however, always channel themselves into a structure adhering to the fundamental principles of drawing. Nonetheless, significant differences are evident. First and foremost, the observer's response to abstract art differs from their reaction to magnetic art.
When confronted with an abstract work, the observer is invited to seek perfection within the expressive traits of the represented figures, attempting to process them internally. Upon achieving this understanding—albeit not immediately—they may even perceive, almost magically, the gaze of the depicted characters and the "madness" of the artist-creator. In Magnetism, on the other hand, the observer actively partakes in the vortex of "measured madness" conveyed by the work itself. They perceive the gaze and the elements represented, yet in a relationship intertwined with the artist, who acts as a guide in this new journey. In conclusion, we can state that in Magnetism, the work is not deconstructed and introspectively transformed as in Abstraction. Instead, its elaboration is externalized, shared with the mad creator of the work itself.
Even in MAGNETISMO, academic drawing and proportions—though seemingly absent—are indeed present. The form is the Line, which becomes the protagonist of the face, the pose. However, unlike in Abstraction, there is nothing to process; everything is laid out before us, almost spread out within the work itself. What the viewer sees is the symbolic representation of a state of mind, almost frozen in a photographic snapshot—the tangibility of a moment captured in the material, be it paper, wood, or any other medium. This entire concept seems to belong to the supernatural, to asceticism, yet on reflection, it brings us back to the photograph of an image, where the contemporary photographer's attention is focused on capturing a specific instant and the emotional perception of the photographed subjects.
The Line, the mother and creator of the faces and objects within the work, surprises us because it compels us to cease pretending and to recognize, as if looking in a mirror, our universal being. We are the work of ourselves. What presents itself to our consciousness when observing the piece is a safe harbor in a new world—a world studded with lines that radiate from the work, permeating the viewer and extending outward in infinite symbiotic connections with reality.
As with "Informal", we have broken space, but unlike that movement, creative planes have been disrupted, and we no longer feel the need to experiment with matter because we have already done so. The experimentation with the space used in the work is no longer solely about the material itself; rather, it includes the inherent idea of matter as a medium to represent ourselves. With MAGNETISMO, we become masters of space because we ourselves are space. Conceptual Art has helped us understand that the idea of expressing a concept is fundamental to art as the creation of a work.
In MAGNETISMO, almost absorbed in an ascetic journey, we draw upon God (the metaphysical, the transcendent) to conceptualize our spirituality. The work aspires to be pure essence, an expression of a tangible state of mind, relatable to each of us. MAGNETISMO brings us back to the theories of Dualism, to the idea of the "non-Form." However, after internalizing this concept through fragmented strokes, it denies the foundations of anti-art and reassembles itself in the rediscovery of art itself. It is the creation of a state of mind through art. In MAGNETISMO, to express who we are, there is no obligation to emphasize details or nuances, because the bold, decisive stroke of the form remains—a synthesized, extrinsic representation of the human being.
In MAGNETISMO, all forms of artistic expression can be traced back to a shared connection of traits, ideas, and synthesis within the framework of the new theory of magnetic interpretation. These include poetry, photography, graphic design, and, most notably, painting. In the artwork, the "line" is free, spontaneously creating movement, where the gesture itself becomes music, evoking the intensity of the stroke. The examples that illustrate this concept are numerous and varied in nature. Foremost among them is myth, which is not merely a naïve, buried memory but rather the long journey of the spirit, a shared "lived experience," and the foundation of all cultures.
The line takes center stage, affirming its strength through the pronounced individuality of the stroke. The symbol, deeply embedded in human culture, connects all creations of the spirit in a web of intercommunication. This complex Mythical Line intertwines myth, sign, and symbol. Even as philosophies attempt to homogenize the paths of art, the Mythical Line rises to create its own metaphysical universe, open to cross-pollination and rejecting the sanctity of rigid ideologies. It establishes intersubjective relationships of profound historical and spiritual significance, transcending boundaries to connect and enrich the cultural dialogue.
Contextualization
The philosophical-artistic treatise on Linear Magnetism presents itself as an ambitious document, a manifesto aimed at giving voice to an ever-evolving artistic movement. Rooted in the present but capable of drawing from the great movements of the 20th century, it seeks to transform and surpass them. The proposed reflection is not merely a theoretical exercise but a journey inviting the reader and the observer to explore a new visual and conceptual language, where art becomes a bridge between the inner self and the external world, between the individual and the universal. The text conveys a constant dialogue with movements such as Abstract Art, Conceptual Art, and Metaphysics, not as homage or imitation, but as a critical reinterpretation that recognizes their strengths and expands their boundaries. Linear Magnetism emerges from the intersection of the purity of the line and the symbolic energy it carries, becoming a central element not only in artistic composition but also in philosophical narration.
The line, described as "myth and symbol," is far more than a simple graphic stroke: it is the vehicle through which the work communicates directly with the observer, eliminating interpretive barriers and fostering emotional and spiritual immediacy. The treatise places significant emphasis on the engagement of the observer. In Linear Magnetism, the artwork is never a static or self-referential entity but a living entity that evolves in dialogue with the observer. This approach overturns the traditional relationship between artist, artwork, and audience: it is no longer the artist imposing meaning, nor the observer passively uncovering a hidden message. On the contrary, a symbiotic relationship is created, where the artwork becomes a mirror of the emotions, moods, and thoughts of the observer, transforming into a unique creation for each individual who contemplates it. MAGNETISMO LINEARE is also distinguished by its ability to combine the immediacy of the artistic gesture with a profound spiritual component. The text emphasizes how the artwork becomes a tangible manifestation of a state of mind, captured in the material through a process that evokes the intensity of the contemporary photographic gesture. However, unlike photography, magnetic art carries a transcendent value: it is not just the testimony of a moment, but the expression of a journey that unites the artist's inner world with that of the observer.
Historically and artistically, Linear Magnetism presents itself as a surpassing of previous movements. Where Abstract Art invites deep introspection and Informal Art breaks the boundaries of physical space, Magnetism places form and meaning at the center but in a renewed perspective, integrating the past while projecting toward the future. It is a movement that celebrates the connection between matter and spirit, between form and content, proposing an art that is never self-serving but always oriented toward dialogue and relationship. Thus, this treatise is not only a description of theoretical principles but a call to action for artists, critics, and observers. It invites us to rethink art as a total experience, capable of embracing the human and the transcendent, the personal and the universal, in a journey of discovery that never ceases to surprise us. In this sense, Linear Magnetism is not just an artistic movement: it is a philosophy, a way of being and seeing the world through art.
In MAGNETISMO, the Mythical Line, or more simply, "the Line," embodies an original symbolic meaning, emerging from a true empathy between diverse cultural matrices. The "Linear" expressiveness becomes the ability to reveal and evoke a world of sensations, where presence itself is inherently expressive and communicative by its very nature. The "Line" offers an immediate potential for understanding; it exemplifies direct communication, free from "intermediary stations." The message is delivered directly to the viewer, transmitting sensations and thoughts through the "clean" image while simultaneously anticipating a shared action-reaction between the artist and the observer. The line becomes a meeting point between the artist and the viewer, representing humanity's attempt to grasp the forms of existence in their "essential" state—a total existentiality rooted in lived experience. In the artwork, the line serves thought, and thought, in turn, serves the Being that manifests itself through form.