Flows, gravity and chaos: an artistic investigation into atmospheric phenomena, matter and cosmology

Martino Allegretti

This research explores the dialogue between the individual and natural phenomena through an artistic process that focuses on flow as a dynamic and generative element. The interaction between water, pigment and support-usually 50% or 100% cotton fibre paper-is configured as a field of visual investigation in which chance and physical forces play a decisive role. The work begins with the use of watercolour, the movement of which is influenced by both natural and industrial elements, such as stones or artificial structures, which alter the liquid's path and colour distribution. A fundamental aspect of the research is the investigation of the relationship between the flow of water and atmospheric events. The direct intervention of rain, wind and humidity introduces unpredictable variables that transform the painting process into an open and constantly evolving experience. The idea of flow is thus configured as an essential artistic element, capable of reflecting the changing nature of matter and time. From these experiments, the research extends to the study of gravity and its implications in the movement of pigment, drawing parallels with cosmological dynamics such as black holes and white holes. The action of the gravitational field and the tension between attraction and expulsion become visual metaphors that find expression in the creative process. In order to structure and document this investigation, notebooks, notes and parallel experiments are used, which are fundamental tools for outlining a method capable of reconciling individual technique with the randomness of external factors. The aim is to find a balance between control and unpredictability, developing a visual language that restores the interaction between artistic gesture and natural forces. In parallel, the project involves experimenting with materials other than paper, such as textiles, membranes and other porous or water-repellent surfaces. The introduction of these elements broadens the possibilities of interaction between water, pigment and support, generating new visual and tactile effects that amplify the dialogue between matter and physical phenomena. Set in an international context of artistic and scientific exploration, this research proposes an interdisciplinary reflection on the relationship between art, nature and physics, redefining the role of the artist as interpreter of the forces that govern our universe.

PHASE ONE:

In this case, three sheets of 50% cotton paper were placed on an inclined plane. Stones were then positioned indeterminately across the surface, while water was poured from the highest point of the plane. The movement of the water — influenced by the weight and position of the stones — flowed downwards, gradually reaching the last sheet, which was placed on a horizontal, non-inclined surface. In this way, the water accumulated in a pool within this final sheet, creating a natural basin shaped by the process itself.

PHASE FIVE:

Once the drying process is complete, the work is examined to assess whether the initial method was sufficient and whether the composition functions as intended. In this case, it involved the addition of natural elements such as branches and bamboo canes, along with industrial materials found in the surrounding environment.

After this evaluation, the process begins again from the first step.

Exhibition

PHASE TWO: Artist's intervention

After observing the movement of water across the three sheets, the existing streams were guided and worked with coloured pigment, allowing the pigment to flow through all three surfaces. Part of the pigment became trapped within the irregularities created by the deformations of the paper and the presence of the stones, while most of it continued its path, flowing into the final pool of water collected within the third sheet, positioned on the horizontal, non-inclined plane.

PHASE THREE: Relationship

A method was developed that begins with the intervention of the artist and continues through the action of natural agents. This relative loss of control and intentionality allows the work to open itself to collaboration with other artists, who position the stones and pour the water mixed with pigment onto the surface.

The project remains sensitive and responsive to all phenomena — both intentional and unintentional — establishing a dialogue with any unforeseen events encountered throughout the process.

The elements added during the second phase, just as the stones did in the first, leave visible traces of their presence — marks that bear witness to their passage and interaction with the work.

PHASE FOUR: The natural intervention

Once the physical intervention of the artist is completed, the work is left outdoors to dry. The drying process is determined by the season and by the constant variations in temperature. The sheets are exposed to the weather conditions present at that moment — rain, cold, wind, or higher temperatures — becoming receptive to the environment. It often happens that natural elements such as leaves, seeds, and branches fall into the pools of water remaining on the surface, becoming part of the work’s material and temporal stratification.

The elements introduced during the second phase of the process, just as the stones did in the first, leave visible traces of their passage — marks that record their interaction with the surface. The work is then left outdoors, with puddles of water and pigment still present, allowing the sheets to continue undergoing the effects of weathering and exposure to natural agents.

Below, the sheet exposed to hail.

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