lunedì 29 marzo 2010
lunedì 22 marzo 2010
“Towards What Shall we Roll?”
A painting divided into two halves, or, better, four parts by one single, powerful cross, destined to be overcome by a rolling circle. On the one side the regular flowing of a grey surface, a sort of road which finds a distant, marked goal in a strong red sign. On the other side the grey colour, almost black, drops, falls, flowing in irregular shapes. Small, yellow, round spots fill, in well composed and ordered groups, the shadow areas, giving them light and sense. Cloisonnisme almost. A sort of geometric Cloisonnisme, alluding anyway to movement and to its ineluctability. Life rolls. So does time
Maria Sole Politti
“Metropolis”
The carrying structures of the city are surrounded by a complex, intense background. In the distance black spires, pinnacles, skyscrapers stand out. The idea of the city has no roots, floats in a suffocating grey air filled with fog and gas and enriched by the presence of another grey nuance, in which a light blue trace is still present. The main message of the painting can be found in the double nature of pollution, marked with the two different shades of grey, for the air and for the water, for the Earth and for the souls of men, towards a progressive saturation of this concept. No hope is left. No evidence of life in this metropolis.
Maria Sole Politti
venerdì 19 marzo 2010
Dirty Water: Davanzo gives up colour to express the urge of an authentic ecologic anxiety.
To Sergio Davanzo water has been in the past the source of inspiration and strength, but it is also integrating part of his favourite expressive technique, acrylic painting. Indeed water is a component of the colour itself, diluting it and making it liquid. Moreover, water is used to wash the paint-brush, cleansing it in a metaphorical way as well, because also the memories of what has already been painted are washed away. After the brush has been polished, what is left is Dirty Water.
The major theme of the exhibition faces in depth the problem of pollution. It deals not only with the pollution of the water, seas and lakes, but with the cycle of water as a whole. It focuses on the silent disease which deprives water of its purifying qualities, both natural and ritual. The main feature of Dirty Water is the almost complete absence of colour, which achieves an effect of bareness and sterility. Rebirth and regeneration energies, together with the vital force of lines and shapes, seem to have been lost, faded away. Only a shadow of these forces is left, expressed by a wide range of grey nuances, by means of which the painter defines his own, personal geometry. Movement and speed still belong to all the paintings, such as the strength of the stroke. But the latter is deliberately considered, on several occasions, the vehicle of a malignant and disquieting message. A few remains of colour, reluctant to abandon Davanzo’s production, linger on his canvas, as if they were intruders. Tiny dots, flashes, gleams. They are the last evidence what the world, and the human soul, were like before being definitely spoilt. In this landscape of general anxiety, only one source of hope is given, and the proposal is partly ironical: the communication with other creatures, with what/whom may exist beyond the dimensions of time and space. Therefore the only feeble note of optimism comes from the signals one gives to another, waiting for a positive reply, which seems to be extremely remote, but still possible.
(Maria Sole Politti)
The major theme of the exhibition faces in depth the problem of pollution. It deals not only with the pollution of the water, seas and lakes, but with the cycle of water as a whole. It focuses on the silent disease which deprives water of its purifying qualities, both natural and ritual. The main feature of Dirty Water is the almost complete absence of colour, which achieves an effect of bareness and sterility. Rebirth and regeneration energies, together with the vital force of lines and shapes, seem to have been lost, faded away. Only a shadow of these forces is left, expressed by a wide range of grey nuances, by means of which the painter defines his own, personal geometry. Movement and speed still belong to all the paintings, such as the strength of the stroke. But the latter is deliberately considered, on several occasions, the vehicle of a malignant and disquieting message. A few remains of colour, reluctant to abandon Davanzo’s production, linger on his canvas, as if they were intruders. Tiny dots, flashes, gleams. They are the last evidence what the world, and the human soul, were like before being definitely spoilt. In this landscape of general anxiety, only one source of hope is given, and the proposal is partly ironical: the communication with other creatures, with what/whom may exist beyond the dimensions of time and space. Therefore the only feeble note of optimism comes from the signals one gives to another, waiting for a positive reply, which seems to be extremely remote, but still possible.
(Maria Sole Politti)
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