The art of D.D. Barra is consciously based on a no linear logic. Moreover, the negation of the artist about the use of a rationalistic method in his creation is never univocal.Despite this, I believe that there are some analogies among the works which belong to a same project inside his whole artistic production. His “Brut paintings” (Penis in fabula -2010, The Holy Spirit - 2010, The Death of the Bullfighter - 2007) from the “Lab of Anomalies” project and the sketches from the collection “The Idiots”, which are created entirely using Smartphone app, are produced originally from creative automatisms, respectively hand made and digital, with an informal style which recalls the expressive lines typical of the “Art Brut”. Instead, in the project “Mea Patria”, the no-consequential genesis of the forms in the two-dimensional works (Italia is a Crackhead, No Recyclable Generation - 2011) and three-dimensional creations (Trench Italia - 2011, Vitaliano Novello - 2011) is produced through an acrobatic appropriation and mixing of various expedients drawn from others artistic techniques such as combine painting, object trouvé, collage/decollage, assemblage.The art of D. Barra is self-generated by the contact, by the collision, by the magnetic conflict produced between the human existential need for the creative process and the symbolized amorphous material of the world in which the artist is thrown as active and passive subject. The art of D. Barra is never tragic nor dramatic, it is never moral, it is never utopian nor idealistic, as much as it shrinks from the fetters of stereotyped “Art Engagè” and public art and yet it is still rich of mutual valuable human signals. D. Barra spurs with an aesthetics conscientiously “childlike”, “primitivism”, “untutored”, “nomadic”, in a single word I would dare to say adespota, the idle essence of the mediocre human being which is more or less inside all of us at different levels of either individual or collective consciousness. That “average human” who for too much avidity, or too much rationality, or for zeal, or for snobbery, or more simply for baleful and obtuse opportunism lives like an automaton who deliberately and continuously lies to him/herself and to the others, falling into the illusory and paranoiac traps which were orchestrated by him/herself.In the end, either if we are spacing through the aesthetics cuts from the chaotic and detrimental socio-political imaginary (No recyclable generation -2011, Vitaliano Novello - 2011, Trench Italia - 2011) or if we are facing the prismatic universe of the mythical/religious idols/jujus (Holy Spirit exited - 2010, Penis in fabula - 2010, The Death of the Bullfighter - 2007) or even from the ordinary circumstances of interpersonal interactions absurdly aggressive, quarrelsome, ruthless, irritating (The Idiots), the polycentric finality of Dom Barra is the deconstructive unmasking/unveiling never nihilistic rather vitalistic, consequently pervaded of wit, of the injurious hypocrisy of humans or rather the idiocy of which she/he seems can not (no succeeding? no wanting?) live without because she/he is an aware too much aware, utilitarian too much utilitarian, political too political, religious too religious, … human too much human living being.
Please, to see the works mentioned in the text see this link http://www.behance.net/gallery/About-Dom-Barras-art-Exciting-visual-idiocies/4719157