Rebecca Delmenico


To describe Billoni's art as mimetic or simply try to root it in well-known expressive trends, would prove most superficial.
Conceptual, philophical as well as aesthetic studies merge in the artist's work. An all personal, genuine research for a process that took over two decades.

For someone to venture into the difficult path of alchemic, mystical and symbolic cultures rooted in century-old traditions and to do so mediating Eastern and Western needs by using one's personal interpretation is quite rare.

All this is made possible by Billoni's master technique, a very accurate and thorough artist, yet also a man constantly reaching out, pushing the limit to live beyond mere appearance, always investigating further to unveil elusive, evasive truth.

Through his works the artist tries to encourage a retrospecitive glance, a glimpse between no entities. From this viewpoint, the paintings represent a limit to scan yet never to be further investigated.

The individual is taken back to the original body-soul-spirit triad, mirroring the alchemical set mercury-salt-sulphur respectively representing waking, sleeping, deep sleep states. The latter being the non evident state, impossible to access, defined by Kant's Mature Theory of the Sublime as the cause of anguish aroused by the sense of inevitable failure of fully Investigating the existence.

Hegel defines art (or beauty) as " nothing less than the sensible manifestation of the Idea” , therefore reflecting its key role in the system of Knowledge According to Hegel, only art could grasp totality as a particular type of whole, one in which each part reflects the nature of the whole. Inner and outer need to be harmonized in a work of art.

Billoni developed a conceptual system and summarized it in an excellent artistic form, evolving as the domains of intellectual speculation evolve.

Though fully aware reason and intellect may not step beyond thresholds, nevertheless Billoni carries on his path, his journey within and beyond himself.

22 March 2008