This seed (the seed of the art, the seed of life, the seed that you like) contains in itself the theory of what that it might become.
The operation can become, in practice, the most simple way to point out a condition of discomfort that anyways escapes completely to he who continues to not understand (or not wants to understand) the financial concreteness that naturally is different than the concreteness of art and of life.
While without a doubt that without a culture authentically new and innovative, and related to the real needs of he who produces, cannot be not even the real economy, that what gives food, work, and reprieve to the people. When later to the image invented by me for this operation, it is definitely not the case that it was a choice fallen on a small orange seed and not on another sign clearly recognizable by the postmodern consumer society, at this point too strong and threatening to need to help me and that of other artists.
I do not work on cloning the planet. They don’t represent that what is already in itself very flashy and visible, it doesn’t need other representations. I, more modest, represent the invisible. The seed that one doesn’t see. But it is there.
Theory of the seed, Isgrò, Orance seed, Electa 1997
Where one finds an artist, at Expo, in the heart of an Italy that is changing, dare to implant a Seed seven meters high, and rather probably that at some point, somewhere close by, someone decides to implant a new fabric, a company capable to produce something what the world urgently needs but of which no one has never thought.
For this one needs art: to give courage to the brave ones, not to look at themselves in the mirror.
Corriere della Sera, 8 March 2015