The ideas and concepts behind Leonardo Ulianʼs work stems from a profound interest in how systems can be applied in the process of making art, how something can survive within a scheme of convention, exploring the system itself in order to understand it, and perhaps, trying to find a condition of artistic autonomy within the framework created. Like Mondrianʼs grids lifted from the constraints of their 2-dimensionality, the abstraction in his work appropriates ideas of reincarnation, and displaced communication, which is also a concept found within the ‘mandala’ form that has been appropriated from Buddhist and Hindu religions, hereby finding a newly formed meaning as much resulting from their new forms as they have from their apparent lack of defined structure. Ulianʼs modus-operandi embraces his passion for electronics, music, science and graphic design.
About the technological mandala series he says:
“I think of my mandalas as ephemeral gizmos, able to trigger the eyes and minds of the viewers with images and thoughts of any sort, but without taking it too seriously. I used the word ʻephemeralʼ because electronic technology is in a way impermanent. It is constantly changing and can become easily obsolete, like sand mandalas can be easily brushed away after days of work.”
Leonardo Ulian, 2012