Break of Limits

The series “Break of Limits” is among Tincolini’s most incisive works. It engages recurring themes—body, limit, resistance—and extends them further. Figures bound with bandages and ropes are not represented as “prisoners,” but as visual devices that define the boundaries within which experience is measured. From these margins, vegetation emerges, signifying the persistence of life and its capacity to cross thresholds.

Tincolini treats the marble destiny, preserving its marks rather than erasing them. The reference to Nietzsche’s “Amor fati” is evident: necessity, even in its painful aspects, is accepted and transformed into form. Bandages highlight absence not as concealment, but as a generative principle, comparable to sutures that turn wounds into structure. The works propose an affirmation of one’s own history, suggesting the possibility of cultivation and renewal even within apparent limitation.

The series develops into a reflection on personal freedom. Social, psychological, and physical constraints may shape existence but do not exhaust it. The vegetal elements emerging from the bodies function both as a return to origins and as signs of resistance. Ultimately, “Break of Limits” is a statement on resilience: it demonstrates how limits, fully assumed, can become formative principles.