“A luminous glow surrounded each of these, like the halos of saints. They step forward bearing a message. In the culminating moment of the action they are struck dumb, they have forgotten, they have been hit by an oblivion that nails them in their plastic positions rendering them motionless, alien. And the existence of these works of art stems from this immobility which narrates the slow, continuous change of the light emanating from them, the unceasing rhythm of appearing and disappearing. A silent testimony being spell-bound by a new existence, but not absent from the world on account of this. Silence is not a doing without existence, but reserve concern. The Squadre Plastiche speak of this state of language, of this “astonishment” of expression.
Even though the Squadre Plastiche are not figurative works, they evoke the human presence. The painting that reverberates on the walls is comparable to a live energy, changeable, palpitating. The work is a contrast between something rigid, static, and something dynamic, in action. An inert body, hanging on the wall, with holds in the paintings dynamic thrust, which aims at the surrounding space, longing to invade the entire environment. These works of art represent the attempt to realise at the same time work of art and the proper space for its reception (not only architecturally).
The form is circular; the surface treated with evenly spread powdered graphite. The painting delineates fissures, gaps, wounds through which the background space can be glimpsed. In the latest circular paintings (those done for the exhibition at the Trisorio Gallery), I painted the backs with a yellow colour that reverberated on the walls. The glow of light and colour distanced the painting from the walls, making it seem like a vestige, inert relic floating in an indefinite dimension. The theme of distance has since become ever more determining, bringing me to the first Squadre Plastiche.”