In fact, I remember that sometimes, when we were doing stories with my scriptwriter friends, I said to put in the captions the smells that the character could smell.īut let's go back to when I was talking to you about Ghirlanda: at the time I was feeling the clash with the language of comics. One of the most difficult things in comics, for example, is to concretize smell and music. Any drawing I make is an effort to put on paper something that I feel or recognize and which, once thrown on the sheet of paper, becomes something. Lorenzo Mattotti For me, drawing means concretizing the invisible. How does this constant contrast between constraint and freedom (therefore also between marks on the sheet of paper and the invisible) act in your work? We started by saying that the creative process is to make visible something that was not there before, but it seems to me that one of the things that unites you is the effort of trying to maintain the invisible even during creation.

I also remember that, while working on his exhibition L'intervista for an old edition of the BilBOlbul festival, Manuele Fior said that it was very important for him during the creative process not to know exactly how to proceed. I remember when, many years ago, he showed me the preparatory drawings of Ghirlanda and explained how complicated it was to start a comic and how much he felt the weight of it, not only because it is a long process but also because putting the panels in sequence narrows one's field of action. The last time I saw Lorenzo Mattotti, one of the first things he said to me was: 'I'm sick of stories! Plots are totally useless because they trap you'.

I would like to start from this, and from the memory of some things you have said to me, and which I will now quote simply to introduce the question. Emilio Varrà The invisible is part of the creative process: first there is nothing and then there is something.

Manuele fior 5000 km al secondo