Crypticism was born in the mind of its creator in the summer of 2012, during a moment of reflection in one of the most beautiful and wild places on the Italian peninsula, Sardinia.
The essential characteristic of the artist who recognizes that he shares this artistic thought is the need to deliver into the hands of the user (provided he has the ability to grasp them), a content, a state of mind, the description of one or more events which can be assimilated through progressive and increasingly accurate levels of analysis, through personal sensitivity and a diversified scientific-humanistic culture.
The artistic thought of Crypticism would like to forcefully affirm that, beyond the aesthetic research, the quality of the workmanship, the quantity of the bare labor and the originality and genius, as well as the uniqueness and non-reproducibility of the work of art (which however should be present as necessary elements), that the 'ideal' user of the work of art cannot be other than an individual who possesses adequate sensitivity, intelligence, analytical capacity and, by acquisition, a solid broad-spectrum culture.
Every other occasional user can only reach a partial understanding not only of the states of mind that the artist wants to represent but also of the information that he deliberately hides (artfully) in his work.
This intentionality is not aimed at taking away the usability of the work, but rather at increasing its content and consequently its value.
Crypticism absolutely does not seek to create an elitist phenomenon, denying to many, in order to offer to a few, but to give more to everyone, introducing a progressive logical emotional path that stimulates and increases the user's desire for knowledge.
The events and contents are revealed to the observer's analysis by degrees of increasing difficulty (multilevel), also allowing for ever greater emotional involvement. The work itself becomes a dream journey at the end of which one can rediscover oneself, each time increasingly richer.
It is not possible to know a priori the number of levels that a work contains and therefore its degree of crypticness.
What is certain is that, in order to conceal numerous and different intelligible dimensions, it must necessarily possess complexity in content and structure. From this we understand how even the amount of work necessary (for the intellect and purely manual) becomes of considerable value for the faber.
What has been said can easily make us understand how a work belonging to this artistic philosophy can hardly be subject to plagiarism.
The contents cleverly hidden place it safe from comprehension by those with genius enough to dedicate their art to reproduction.
Characteristics that are insignificant to the eye and to the usually poor effort of those who copy the work of others out of laziness can turn out to be fundamental, without considering that, often, the technique adopted by the 'crypticist' is anything but easily reproducible.
Crypticism, thanks to its definition, would have the unexpected presumption of recomposing the historical fracture between classical and contemporary art, finally united, with the aim of transmitting contents, knowledge, historical events, transporting the user on a journey n-dimensional.
The characteristics described mean that, as an open and implementable artistic movement, it is only partially dependent if not completely independent, on the variable time understood as duration or historical period, being dependent, more than anything else, on the brain capacity of the human being and his ingenuity.
This is fundamental for the unifying function that the creator hopes it can have in art.
In fact, perhaps the most important aspect of this thought is that it has no limit other than the genius and skill of the artist, who can reach levels of execution and hidden content that are completely personal and unexplored by others before him.
Thus "Crypticism" creates a bridge towards the past but also towards the future of art history, a path open to all those who, with more skilled hands and more cultured and intelligent minds than mine, will be able to contribute to creating new levels of fruition by acquiring merit.
A precise technique or a style of execution (a-stylistic) is not necessary because any style can be adopted to achieve the goal.
The first art historian who mentioned Crypticism in an article by her was Dr. Laura Turco Liveri.