Bic pen on prepared wooden board, 200×220 cm
The map represents the synthesis, the formalization of the Artist’s thought regarding the Global Education project. It is the final representation of the entire procedure and the method he used to collect, during his travels and during his participatory experiences with the public, the informations, the inputs, clichés, icons, slogans and ideas that populate conceptually his work.In the maps we find iconographic images found in our collective imagination, such as the American flag, the Coca Cola, the heads of state and all that we easily recognize because it is part of our contemporary visual luggage. Through a kind of collective and connective archive, created by collecting images found on the web and experiences of confrontation with people from different places of the world, at different times, the artist coined the dictionary of Global Education. This tool was created by real participatory assemblies in which the artist is confronted with the locals in which he operates, for the formulation of Tag, ie the words that affixes under the icons chosen as a representational tool, in a geopolitical map, all those events and those characters that account, change and influence the history of our society. To each letter of the Global Education dictionary corresponds, a word, a meaning, the name and surname and nationality of the person making the request: L = Last Liberty, TwinTowers NY, Teres Worths, Oklahoma.
In Phallic Erection the artist depicts the different elements that allude to the enjoyment taken from the power’s games and the conquer of the world. It represents the antithesis between Russia, China and America, it puts a focus on the issues of the Arab Spring as a humanitarian problem, also linked to the denial of women’s rights.The figure at the center of the Europe is Pierpaolo Pasolini, considered one of the greatest Italian artists and intellectuals. His relationship with his homosexuality was the center of his public persona but also the reason for persecution for many others. This highlights the inconsistency of a system that before oppresses and then hosannas. Through recognizable icons, Stampone uses the beauty of the art to describe topics and humanitarian issues of great importance.