«The more than fifteen-meter-long wall piece Anìmule, from the second group of works in the exhibition, can be described as a kind of frieze. It depicts a sequential series of archaic and obscure-looking “scenes” populated by human figures, animals, and other beings. But one should not be misled by first impressions. For the work is in fact neither drawing nor painting. Losi does not work here with drawn forms and figures, but with imprints—with indices that, through a multi-stage process, constitute a kind of multiple transfer and translation of the (collective) imaginary.

The figures and scenes do not originate in drawn imagination. They are torn paper forms—animals, beings, and scenes the artist created in a wide variety of locations with a diverse range of people, in a practice both highly subjective and participatory/intersubjective. The tearing of the paper generates an ongoing process of variation that decisively shapes the appearance and aesthetic character of the animals, figures, and beings. These are free, associative forms characterized by a high degree of aleatoriness, improvisation, and material immanence. This tension between international scope and indeterminacy defines the ambivalent ontological status of Anìmule as artistic works. In this sense, the various forms and beings constitute processual artifacts; they are things that have become more than what was conceived and drawn. The viewer encounters chimeras, disproportionate hybrid creatures, and archaic forms that oscillate between the phantasmatic, the recounted, and the narrated. »