Work in progress


Finding ourselves between Laurentina and Ardeatina, in an area that roughly touches also Decima, Tor Pagnotta and Cecchignola, we must bear in mind that this – together with the municipalities of Casalotti-Boccea-Casal Del Marmo – is the area of ​​Rome that guards the largest portion of Roman Agro. The history that still vibrates on this territory, therefore, speaks of the peasant world. And especially the institute of sharecropping that here – until the seventies – was a daily reality. Nonetheless, in the past few decades the intense construction activity, which allowed the construction of most of the suburban quarters of the southern Capitoline quadrant, has seriously undermined the integrity of an area in which the void has always been monumental and the absence of men and buildings a conservation act almost due. A territory that preserves the same dignity of the nearby offshoots of the Appia antica park, but expresses it far from the nobility of its mausoleums and imperial villas, being a symbol of a cosmos composed of crafts, knowledge and prospects that today seems almost completely gone. Squeezed between the buildings and often reduced to a state of angry abandonment, here still survive the traces of the farmhouses entrusted by the Torlonia to their sharecroppers. It was a common practice at the time and not only in Lazio, and admirably resolved the daily management and the problems of productivity that the estates possessed by the Roman nobility inevitably created. Around here, around the Thirties of the last century, various families of farmers from the Marches arrived. They are their descendants and the latest representatives of a universe alien to the city. Or rather, far from any other city, but not from Rome. Where the countryside has had a history and a role in the realization of its millennial dream. There is a peasant vocation here, which is not even canceled by the many cubic meters of cement that have rained over the area, often, with incredible ferocity towards an ecosystem that kept men, plants and animals in a balance created over time . That was based on experience, sharing and respect for the surrounding environment, of which obviously the sharecroppers and peasants of the time still felt an integral part, rather than hostile hostages, as often happens to us, contemporary children of the buildings and condominiums. This vocation is the result of uses and moments of aggregation that, within the farmhouses of the territory and, more generally, in the agricultural universe, marked the rhythm of activities and rest. Festivals, collective work opportunities, family occasions, even the care and spread of the sourdough represented a kind of ideal vehicle for spreading skills, products, ideas in an environment where collaboration and mutual support represented the most precious currency. At the same time, specularly, reasoning on the Agro and its peasants and breeders, imposes a reflection also on the aristocracy that possessed these lands. Two radically opposing worlds sustained themselves from a distance. The very life of the noble palaces would have been questioned without the contribution of the goods that came from the estates and farmhouses. On the other hand, the proverbial decadence of the Roman dynasties is what has allowed a relative independence to the settlers of the fiefs, lost at the edge of the sparkle and therefore free to create for themselves, beyond the pacts signed with the nobles, the most life-friendly. In this void – the one that has survived and survives the building speculation – the one and the other history coexist on the edge of the definitive oblivion. To forget them would be an irreparable loss.



Gojo began to approach writing in ’95 but, in reality, his first spray held him in 2002. Undeniable talent for drawing, already visible in his initial pieces, evolves gradually towards a more personal style but still eclectic, also experimenting with reinterpretations of baroque elements.
He paints in several crews: IBG, DDT, Total Kaos, mainly operating in Rome.