Jago spiega "Il figlio velato", l'opera donata al Rione Sanità, ispirata al "Cristo velato" di Sanma

I'm very tight in the categories, in the labels. I want to be able to change my mind. If tomorrow a child should come and say, can I do it too? I would say yes. Not only, you have to do better. The project was born in 2017, I was in Verona. I got this image and I call Luca Iavarone, who had just made the documentary with Fanpage. And so this idea then translates into a meeting in Naples with Andrea Avigliani. And so, the project was born. With great enthusiasm, I started to make a sketch. That sketch turns into a model. Unfortunately, that model could not be made in Italy. They didn't believe it. The questions they asked me were, how old are you? Are you too ambitious? And then it happened that I went to America. And there they offered me to stop. They told me, come here, everything is at your disposal. Of course it was very difficult, almost impossible. But in the end, you know what? I do things. I open my hands and go on. Then I went back to Naples. I arrived at Sanità. And after an endless journey inside the kingdom of spontaneity, where every step is the opposite of everything, we enter the Cappella dei Bianchi, inside the church of Sansevero, outside the walls. What welcomes you? The silence. Like this. And that's a miracle. At Cappella Sansevero, the truth is that they welcomed me with enthusiasm, and I can say this operation with love, because it was and is perfectly in line with what was the idea of Raimondo di Sangro. The fact is that I then had the opportunity to be able to see, really, almost touch, approach a centimeter away from the finish of those works, to understand the meaning. It was a unique opportunity that I will carry with me in my heart. For me it is important to touch things, to adhere to reality, to make love, to understand, to investigate. I can close my eyes and touch a surface, see it, imagine it. This is not my sculpture, it is the sculpture of everyone, of all those who followed me live on Facebook, day after day. This is a work of total, total participation. And so, to whom was it returned? Did I have to put it in a museum? No, we returned it to the community, to normal people, to those who come here and say, I don't understand anything, but I have to see it. And it is here in contemplation. Bye.