Every time we talk about aesthetics to be honest we use this term to indicate something superficial, frivolous, futile. An appearance clearly in contrast with the essence. A shape essentially without substance. Our contemporaneity has conveyed this message. This was not the case in the Ancient world for example. The Greek ideal was in fact "beautiful and good" (kalòs kai agathòs). Ethics and aesthetics were on the same level, they had the same value, they were the basis of virtue, even of philosophy. "The human being who does not at least once in his life feel full and limpid beauty within himself who has never experienced how only in hours of inspiration everything intimately agrees with itself, this human being will not even become a philosophical skeptic. For, believe me, he who doubts finds contradiction and insufficiency in everything that is thought only because he knows the harmony of the flawless beauty which is never thought"(Johann Christian Friedrich Holderlin, Hyperion).

It is not a casuality that the word esthetic includes the word ethics. It is therefore our culture, so used to dividing, that makes us perceive a split, an exclusion even where there would be an harmony, a union. And this is a special moment in man's history where, especially in the West, beauty is everywhere. "It is crazy how beautiful the world is. Beautiful are the packaged products, the brand clothing with their stylized logos, the muscular bodies, remodelled or rejuvenated by plastic surgery, the made-up faces, treated or lifted, the personalized piercings and tattoos, military equipment inspired by the futuristic cube, constructivist or ninja-style uniforms, dishes with artistic decorations, or more simply packaged in supermarkets with colored envelopes such as lollipops. Even the corpses are beautiful – neatly wrapped in plastic covers, aligned by the ambulances. If it is not yet beautiful, it has to be. Beauty reigns. In any case it has become imprative: be beautiful or, at least, save us from your ugliness» (Yves Michaud, L'art à l'état gazeux: essai sur le triomphe de l'esthétique).

In view of this, I think that the artistic practice of Alessandro Moreschini is rather emblematic. Born 1966 Moreschini reaches national reputation thanks to the interest of the art critic Renato Barilli, who in 1997 invited him to participate in Officina Italia and then supported him up and proposes him in many other occasions, the most recent in 2016/17 Bologna dopo Morandi, 1945-2015. If we talk at an international level, in the International art world he achieved a success by participating in 2003 at Sharjah Biennial in the United Arab Emirates, invited by Hoor Al-Qasimi and Peter Lewis.

The works of Alessandro Moreschini are the expression of an extraordinary creative liveliness that through meticulous decorative patterns covers the surface of canvases but also of objects leaving out of the two-dimensional nature of painting to become three-dimensional, to become object, in certain aspects daily life. Moreschini's virtuosity allows him to rival the possibilities offered by computers and technology. His precious patterns cover object surfaces as car tires, furniture or wrench revitalizing them, giving them a spiritual and aesthetic value, transforming them into works of art beyond time and space. Do not forget that beauty makes us feeling closer to God, makes us meditate, makes us reflective.

The use of textures close to the Middle Eastern tradition is an opening to dialogue between peoples and cultures, to the contamination of different knowledge and stories, to being so and even otherwise, to questioning the rules of Western art, to question ourselves. So perhaps we do not notice it, but beauty stimulates our questioning, meditation, reflection. The beautiful does not necessarily have to be empty. Aesthetics do not necessarily have to be devoid of ethics. All is more complex than what appears. Simplifying means losing something, losing perhaps an appearance that fully coincides with the complexity of the whole.