Unica was created in art and, always, through the collaboration with artists and creative types, it shares methods and possibilities.
Probably, aside from every generic definition and every plausible etymological root, millions of different visions of art exist, at least one for every person who practices it.
From our point of view, art is first a necessary and universal language able to generate priceless and unexpected relations between formal aesthetics, furnishing possibilities and subtle emotional perception.
Art is a feeling for us, the evocation of a state of mind able to rediscover the magic of a place in the details of a piece, the perception of a scent through the explosion of a colour, the sensation of an experience lived through the details of careful workmanship.
Through a series of analogies, details and symbols, the work, for us, can aim at a possibility of a sensorial revocation of an experience or imagination and be able to recreate the majesty of an African sky, the vague impetuousness of the Pacific, the mystery of an Arabian night or the delicateness and fragility of a foreign flower within the intimacy of an interior space.
The presence of a symbol in each Unica piece, whether graphic, elementary or formal, goes beyond the merely decorative dimension and works on the spectator’s pre-rational perception, thus suggesting a movement of the unconscious’ evocative ability.
Following Klimt’s example, who has always been the preferred model for our artists, spirals, circles, stylised flowers, scratches, curves but also symbolic elements like gold and precious minerals, become a non-verbal language able create brand new and unexpected sensory receptiveness.
There is not just one vision of art, Unica, through its own, manifests a desire to give back often suppressed experiences and emotions to the spectator, sometimes only dreamed or intuited, but always real in their being necessary.