Newcastle Painting

T H E C I T I E S The trace of the gesture and the sound of the word share a corporality that is expressed in frequencies: of color, the first, of sound, the second. From this dance of references originates a series of works that refer to travel, to memory, to the infinite expressions of vibrant cities as a trace of a multiform human presence. Oil, stucco mixture on canvas. “There’s a lot to say works like this Humble materials (stucco per pareti), mixed with oil colors and other ingredients, mixed freely and freely composed on the surface. The first thing I noticed is that particular way to stand in front of the viewer: the canva offers a sculptur like surface, with materials agglomerate in some point, to stood in front of the viewer, toward him, with no gravity, or, better, the viewer himself is the attraction point. Second, I notice a tramata connection from one agglomerate of material to another, and these connection can vary in colour, in distance, and in strenghtness. What I supposed to be in front of, was, according to me, a clear artistical rappresentation in a determined point of time, of neuronal junction activated by memory or language, like a photo , triggered by a word. And than , when I read the title, from that moment in poi, I was no more able to see other than that city. “On the threshold of the image. The Cities.