Corneli’s artistic research is a synthesis of geometrical calculations and philosophical reflections on perception, elaborated with today’s instruments and with the aesthetic language of contemporary times. Having adopted the principle of anamorphosis, of transformation and deformation born in the Renaissance and developed in Mannerism, he coherently translates it into the language of the twentieth century. No longer does the specific viewpoint of the observer encourage him to correct the deformed image, but the well-aimed point of light. Anyone wanting to see, needs light. “Light is energy which creates forms.”
The apparently inconsistent images projected, founded on an ironical and poetic interpretation, the formal vocabulary is limited to portraying models by paring them to their essential contours. Corneli’s primary interest does not lie in contents or in aesthetic or formal aspects: instead, with his artistic drive, he “electrifies” the entire field of human perception, with its range oscillating between non-awareness and knowledge. He turns the act of looking, recognizing and understanding a conscious process into an adventure of the senses.
He leaves it to the audience to choose to explore the origins of his images by means of their knowledge, experience or by association. His anamorphoses are an open perceptive mechanism in progress: as if the viewer himself were to enter a laboratory and become part of the experiment.