The question could be better posited as follows: why should we paint while moving? Whereas the Futurists and the Vorticists brought forward the idea of artworks dominated by a restless movement as they felt it throbbing within the industrial society, the booming cities and the factories, nowadays we have mastered the so-called hypermovement. Everybody, everywhere, behaves like a child in a toy shop: he runs up and down in a frantic way without knowing what to choose basically because he fancies everything in it. I conceive of artworks in movement as I myself – like everybody else – cannot but move and run. Working while walking on the driving belts either in a shopping centre or in an underground station, or in an airport succeeds in abridging the gap that still exists between the artist and the people around him, no matter whether the latter wish to buy his pictures or not. Working in movement enables me to communicate with the passer-by. What I am really interested in is not just the three-minutes’ conversation I usually have with them, but the actual message behind it, namely that while we are engaged in our daily activities we hardly realise how incessantly life flows. This is the reason why I’ve focused on some people-oriented projects, because I guess that dreamers like me – with their small or grand plans – will eventually show that they were ahead of their times and quite innovative indeed, by suggesting suitable solutions to problems that are difficult to solve. I can presume that my words sound really too self-confident for an artist! Yet the challenge consists in making out or discovering new things thus helping people to become aware of what they are currently doing or going through. Somebody holds that man has nothing else to find out or invent. I obviously disagree on that point of view: we have still plenty of things to discover or invent on this planet.

Movimentart - Gregorio Mancino Studio: Alzaia Naviglio Grande, 4 - Milano mail: movimentart@alice.it