The last century has seen a succession of changes in the social, scientific and cultural areas. The twentieth-century’s art has opened up a debate about the traditional way of seeing and representing the world.
Right at the end of the century, Pongo has put into question reality itself and the conventional extents of the various movements. Son of generations of artists and an international and fiery explorer of metropolitan graffiti, the rebellious artist has lived the vision of removing with aerosol paint the ugliness of the suburbs poisoned by the decay, in town such as New York, Rio de Janeiro, Paris and Milan.
With the arrival of the new millennium, Pongo has entered into a new probing phase of his work.
With his distinctive artistic research, in balance between environmentalism and technology, he has managed to unravel an original Ariadne's thread between his personally lived experiences, the culture of the past and a future, that he senses increasingly ambiguous.
Pongo scratches the future to state that there will be a future, revealing the effects of the sheer obtusity of the world’s governments. He renders visible the possible consequences deriving from the systems that have created them. No longer is graffiti envisaged as a pressing appeal to raise awareness against the urban decay, but as a scratch on the crumbling habitat of our planet's future. Pongo reveals and displays his great disdain and rebellion against the consumer society and the suggestion of endless development.
Unlike the Cubists, who were trying to pursue the normal visual process of the eye by presenting a summed-up observation of the objective reality from multiple points of view and in a manner conceptually different from that of Jackson Pollock, whom according to the well-known uptown art critic Clement Greenberg had with his Action Painting instinctively originated the “flat surface” theory, Pongo is conscious of being himself living in the reality of the globalized flat world, where present and future run along on a treadmill. The well known American columnist Thomas Lauren Friedman, maintains that new phenomenon called “globalization” is the cause for the flattening of the world due to the historical-political-technological forces through which access to information can be had by means of boundless technological modes, but without any certainty that what we see and hear is true.
Pongo scratches the future and, frame by frame, he unfolds territories. Forms and shapes of which can be benefited in multiple ways by following the numerical trails, but with the clear awareness of being a witness of very personal events. He creates out of focus planes of parallel physical sequences which gain three-dimensional consistency through the use of special glasses, without which they will however express the enigmatic power of cryptic signs and recurring symbolic traces having almost esoteric meaning.
His is a journey through space that cancels the time. A precarious work of art is hence created that is shared in the analysis of the onlooker.
Pongo tells us that the quality of time in which we live in constrain us to a constant present/future without truth.
In his paintings, the topography needs to be read as a map of an onboard computer which calls for some consideration, since Pongo submits the observer to analysis. The archaic forgotten past, the signs of future wars, the dreams of collective memories placed on parallel planes.
Are all images of his artwork presenting a kind of apocalyptic situation such as that caused by an oil spill or a nuclear explosion, but they are also images heralding the rebirth.
Scratches, unreadable mathematical equations, references to the idea of an infinite world.
Pongo is fascinated by the elusive concept of infinity. Physics teaches us: also a little piece of infinity is always as big as all of the infinite, and thus to comprehend the sense of infinite requires profound abstraction as this world does not exist in reality, but it exists as a product of our mathematical understanding.
Pongo, consequently, places himself inside the ideal reel of the infinite, as in a movie produced by his imagination in which the motion frames of the past, the present and the future coexist at the same time, rolled up on different planes.
His paintings are the frames of his motion picture, akin to pieces of the infinite that he unreels and scratches to validate their existence. Scratching is for Pongo a destructive act, but it is also a statement of his own humanity and of faith in the reiterating power of art.
Concepts without truth to avert the ultimate decline of our human perspective. History, as we understand it, capable of fulfilling our mankind’s quest for certainties, or rather the irreversible succession of unrepeatable events, does not exist.