85 or is lost into nothingness. This means that the artist’s freedom must not be absolute, but instead must know a limit in the bond with nature, a bond that can also be subtle, but unbreakable so that the energy to rise and fly is transmitted to the work. Canins continues today to tread lightly the difficult path that passes between the recall of tradition and the urgency of modernity, thus managing to create plastic images that can touch many areas, many recesses and desires of the human spirit. Canins can be considered neither a naturalist artist, nor an abstract artist, but rather a tireless researcher of forms, an investigator of the relationship man/ nature highlighting, with the modernity of his culture and his personality, elements of language and completely new meanings. His pieces of work are almost a sort of diary from which emotions, memories, studies and ideas for future businesses emerge. To put it another way, Canins proves to be a wonderful visual artist, because in every fold of his works the privilege of the eye that scrutinizes, analyzes, observes and becomes a threshold to access deeper emotions, more intimate and that open unusual inner perspectives coming directly from the beat of his heart: everything is found in the eye and everything is converted into a form understood as a synthesis of external vision and inner contemplation. The forms created by Canins develop through intuition and observation of nature, thus going beyond the wanted and the schematic, indicating a new naturalness, that of the work. The dialogue with nature is confirmed to be a ‘conditio sine qua non’(a prerequisite) and thus the creative process is accomplished once again, admirably described by Paul Klee (op. cit. p.25 and 29): “The artist is man, he himself is nature, a fragment of nature in nature’s domain... He then creates a piece of work or participates in the creation of pieces of work in the image and likeness of God’s work.”
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