work
Deserto #937
| category | Painting |
| subject | Political / Social, Abstract |
| tags | ovatta, nero, reti metalliche, pigmenti |
| base | 90 cm |
| height | 180 cm |
| depth | 5 cm |
| year | 2022 |
Acrilic and pigment on synthetic wadding, industrial nets
[...] For Costanzo, the dimension of doing coincides with the exploration of the boundaries of the sculptural lexicon, which are reinvented from time to time. This happens with Deserti, scraps of cotton embedded in mesh frames; they too are thresholds, spaces of mediation between two dimensions, places to be carefully investigated because they highlight another, mysterious, and different dimension. The cotton indicates the sculpture's ability to be mutable, to estrange itself from a boundary (which is that of the metal netting), to attempt new paths, further forms to compose and recompose.
Lorenzo Madaro
This is how it happens in his Deserti (2021-2022), where the painterly action is reconceived through the filling of cotton into a reticulated space. The size of each format is directly proportional to the time the artist has spent resting on his couch in the studio (involved in other actions: reading, digressing, dreaming). The cotton, on the other hand, is precisely what allows for the softness of our thoughts and at the same time remains concealed from view.
The work measures the time of work stoppage more than the work itself. Perhaps because the artist recognizes in the pause the development of networks of ideas, just as the body in training develops muscle mass at rest. This last series shows how the artist is fully aware of the indeterminacy of time, and that the work of art must be a device for prolonging the eye towards these multiple views on the world, which is not univocal and therefore encapsulated in a defined image, but an open image as the variables of description of the times and spaces of the world are open, from the real to the mental and linguistic ones, from the dreamed, glimpsed or simply imagined ones.
Marcello Francolini | Studio visit | La Qudriennale di Roma
[...] For Costanzo, the dimension of doing coincides with the exploration of the boundaries of the sculptural lexicon, which are reinvented from time to time. This happens with Deserti, scraps of cotton embedded in mesh frames; they too are thresholds, spaces of mediation between two dimensions, places to be carefully investigated because they highlight another, mysterious, and different dimension. The cotton indicates the sculpture's ability to be mutable, to estrange itself from a boundary (which is that of the metal netting), to attempt new paths, further forms to compose and recompose.
Lorenzo Madaro
This is how it happens in his Deserti (2021-2022), where the painterly action is reconceived through the filling of cotton into a reticulated space. The size of each format is directly proportional to the time the artist has spent resting on his couch in the studio (involved in other actions: reading, digressing, dreaming). The cotton, on the other hand, is precisely what allows for the softness of our thoughts and at the same time remains concealed from view.
The work measures the time of work stoppage more than the work itself. Perhaps because the artist recognizes in the pause the development of networks of ideas, just as the body in training develops muscle mass at rest. This last series shows how the artist is fully aware of the indeterminacy of time, and that the work of art must be a device for prolonging the eye towards these multiple views on the world, which is not univocal and therefore encapsulated in a defined image, but an open image as the variables of description of the times and spaces of the world are open, from the real to the mental and linguistic ones, from the dreamed, glimpsed or simply imagined ones.
Marcello Francolini | Studio visit | La Qudriennale di Roma
