Bep's Art Studio 
Beppe Marchetti, born under the sign of Aries in Milan, the city where I studied, work, and still live today. After a technical education and a fulfilling job, I encountered disability following a sports accident; thus, life has changed, without buts and without ifs. And if we consider that I was born under a zodiac sign that cannot be kept still...
My new existence, version 2.0, has compelled me to engage in ceaseless introspection to adapt, revealing unexpected perspectives. Thus, I have revisited and freed my predispositions: from resuming the study of philosophy, to experimenting with painting and working with clay using the ancient Raku 楽焼 technique, and then dedicating myself to the art of Kintsugi 金継ぎ, making it a rule to understand my existence v. 2.0; lastly, seeking deep relaxation by playing the didgeridoo.
My thoughts and way of life are intertwined with art (also thanks to a family environment very active in the field of modern art), but my works do not pursue any practical purpose nor do I aim for the pleasure of aesthetic success of the work, and even less do I concern myself with technical knowledge as such for the pursuit of perfection in production; except when I engage with Kintsugi, known as the art of repairing pots with gold, where technical knowledge is indispensable as it is tied to the philosophy itself of proceeding in Kintsugi art, so that the outcome of this art goes well beyond mere technique and manual skill.
I continuously experiment, both with painting and with clay in its three-dimensionality; I strive to transcend technique so that the understanding of the object I am creating emerges from my subconscious; thus, the representation in my works becomes the evolution of my simple and primordial way of expressing my feelings at the moment, which, combined with my thoughts, becomes a single reality.
Words are sometimes limiting, artistic expression is not. Indeed, I continue to search for ways to surprise and amaze myself with what I create, yet I do not plan in advance. I do not wish to appear irreverent towards those who pursue thorough research and innovation in art as a message of growth, but I do not aim to conduct technical research; I live what I create without any practical purpose, seeking my personal satisfaction and an artistic way to communicate.
If we are the product of our experiences, unfortunately often the negative ones, where the blows life deals us become part of us and inevitably leave scars that shape and conform our personality or character, then our reassembling makes us increasingly unique and irreplaceable. This is analogous to the art of Kintsugi, which repairs broken pots, and in the reassembled pot, two pots coexist: the original, created as such, and the reassembled, thus, two new values. Kintsugi with gold highlights the scars of the pot, thereby enhancing the beauty of the original pot, now transformed into a new pot, a new reality of the pot shared.
Kintsugi teaches this: your scars, whether of the soul or the body, will be your beauty.
When I immerse myself in the creation of a work, I feel the sensation of regressing to live in the moment, without instructions for use. To date, I have come to believe that there is nothing complicated about life, because, in the end, the choices we must face are always within our reach; otherwise, they would not be choices and there would be nothing we could do about them.
It is also true that social life at this latitude of the world often compels us to hide our signs of saturation, but I strive with tenacity to step into the fray each day quietly with the persistence of my ideas, even though they sometimes create barriers.
But when I am alone with my time and in my space to devote myself to my art and to what inspires me at the moment; I let go, I sail into fantasy, I let my hands move without thinking about what will happen during their movement, and how much it develops will then be my true satisfaction.
I do not try to go beyond, it does not interest me... in my heart, I understand that "it is the horses confined in an enclosure that stampede, the free ones do not feel the need to understand where they are running".
My art is created for personal satisfaction, as a recreational act without any productive purpose for society and even less for the spectators of my works; but if the works do elicit some response from the observer, even just at a perceptual level, without the need for true understanding, it means that somehow there is the trigger of an elective affinity between two individuals: my self and you who watch. Just the fact that you are there and try to understand my works, I consider you someone who does not need access codes to enter thoughts; we simply feel spontaneously aligned, and this is how the inevitable resonance between beings is created. If it does not happen, that is fine too; I do not harbor regret for the circumstance, it means there are other predispositions and, to meet, we might need other paths.
When I work, I am at peace, loving the subject of my thoughts, the satisfaction of the action comes naturally, I break down the barriers of mental modesty without losing the rule of personal dignity. I believe these are the details that make a difference. That is why I return to the analogy of Kintsugi, where the fractures in a pot are highlighted as new details and make the pot even more important and astonishing. One must understand the peculiarity of imperfection to achieve uniqueness.
I watch what I create moment by moment, extending my attention to those tiny nuances that sometimes stand out more, like pauses, the commas between words that reveal so much if noticed, or like certain musical dissonances that, when used carefully, enhance the melodies; it is like when, with our silent gaze, we realize the meeting of eyes: they search, they scrutinize, they understand love and words become superfluous.
This happens to me especially in the quiet night, when my soul steals my hands and uses them as it wishes on the canvas, in the clay, with the pen.
Do not try to understand my works and refrain from asking me my purpose or their meaning, but try to grasp my intentions, to understand the dimension in which I move and exist.
Confusion? No! Just a desire for sensory pleasure without mental barriers.
Synonym for unruliness? No! A desire to self-determine who and what I like, thus in tune with what I consider "right," and if it's not the same for others, it doesn't matter, I seek solitude to find myself.
I support and heed the rule; "Doing the right thing isn't always the right thing to do", therefore...