The scriptorium (medieval Latin) is the code that marks the beginning of modern housing as known. It is in that place that the individual, as a Greek term etymologically rediscovered, starts to manage his finances and studies. But it is also where the individual first meets his loneliness.
It is the space in which, at the moment of loss, everything is reached its end, and there is only suffering. On the other hand, it is also where the interrupted memory can be formally rearranged by an aesthetic or logical articulation.
Nowadays, the scriptorium can be perceived in the form of the room (initially the office room), a space reserved for the intimacy of the modern individual. It is a space released from its original meaning, not just the "writing room", where every pain and every joy is contingent.
This is Alfredo Faria's Scriptorium, his most recent series of paintings, created in his own room and organized collaboratively in a particular study system, as an oniric-flâneur, "in search of provocation and silence" - as the artist describes.
Each part of the series consists of eight pictures, intrinsically linked to the meanings from which they emanate, like the signifiers of the first syntax in the world, as an imagery reproduction of the very structure to which they belong, even if fragmentarily.
Finally, it is worth mentioning: we know that the year 2020 was an atypical year, in which the modern individual space has become both a battlefield and a temple of meditation - these are the poles between which lies the Scriptorium's axis of crossing.
If the word 'recall' [revocare] is to 'bring back to the arteries of the heart', each truth visited in the mixed techniques of this Scriptorium, by Alfredo Faria, is just a bit of collision, but also redemption, between cracks that the ink founds on the pastel chalk, in the encounter of the acrylic sound of an empty house with the watercolour of the memory.