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The show
Venanzo Crocetti MUSEUM
Rome, Via Cassia 492
from 17 to 30 November 2023
17 November 2023 inauguration at 5pm
Hours: Monday-Friday 11am-1pm and 3pm-7pm
Saturday 11am-7pm
The presentation of an exhibition has the intrinsic need to measure the work done with the design intent that generated its execution; to avoid difficult interpretative paths that may not completely correspond to said design intentions, the author prefers to offer some clarifications on the method of his work and the contents of his painting, in order to facilitate the use of the entire exhibition itinerary. This choice does not want to inhibit the necessary critical readings and the sacrosanct differences that exist between the different functions, but simply wants to present the work from the point of view of the concrete execution, with the awareness that the paintings tell their story, but it is necessary to meet them, see them, observe them in real life to be able to experience them from "inside" and therefore be fully aware of them. “Stone Moons” is the pictorial cycle that collects all the work dedicated to Italo Calvino for “The Invisible Cities” and constitutes the central nucleus of the Painting Staff at the Venanzo Crocetti Museum in Rome. This cycle is also associated with the works that characterize the entire pictorial activity: watercolours, acrylics, multi-material assemblages, oil paintings on canvas and on wood, ink drawings, notebooks and prints from engravings. The drawing, the compositional and chromatic balance, the use of canonical and non-canonical materials constitute a concrete way of making painting, not only in the sense of approaching, "caressing the painting", but essentially of following it as if it were a story, story in pictures. The works exhibited in the “Lune di pietra” exhibition are the result and synthesis of a
path and research based essentially on the structural elements of the visual composition. Starting from a design approach linked to the experimentation of materials, shapes and colours, the intent is also to pursue, with a precise proposal, the narrative capacity of the image, inviting the observer to constant journeys into memory and into his own inner world . Color and shape integrate into compositions always in balance between fantastic landscapes and real landscapes. In the works, in fact, the theme of "landscape", be it made up of urban spaces or green spaces, is completed in metaphysical scenarios, creating a constant reference both to fragments and details of the collective imagination, and to scenarios, figures and materials attributable to daily life. This condition leaves the observer time for amazement, for careful observation of details and for a profound taste for care and detail. In the construction of the work and the image, enchantment and disenchantment come together and coexist in suspended atmospheres without time and space. In this game of references, chasing the narrative capacity of the image, everyone remains free to identify a point of view, a shot, the personal and essential detachment, the sense of silence, in the hope of listening to their own story. All this in order to nourish in painting, "in the construction of painting", a "magical" and almost dreamlike atmosphere, which would like to generate in the observer a narrative form through images, in sequence, as if it were a film. An essential element of this pictorial method are the materials chosen to complete shapes, colors and compositions. In this sense, multi-material assemblages are not only exercises in style and the search for harmonies, but constitute a sort of expressive warehouse to use to give concreteness and formal appearance to the idea, image and composition. In particular, the multi-material assembly, conceived as a collage technique, also allows us to chase the quotation, to recover the memory of a material, decontextualising it, that is, it allows us to restore a renewed dignity to materials worn out by time and wear, discarded by production, which have become “waste”. It is in this perspective that the trimmings of the marble worker and the carpenter, the used papers (bread bags, packaging), the bark and the wood from the market boxes find new life. The works on display want to testify to a type of pictorial research that invites reflection and at the same time solicits the enunciation of an intrinsic "poetics" in the fragment: reasoned assembly of material elements that dialogue in a suspended time, waiting, perhaps, to find the lost unit. The "suspended time" and the "proposal of waiting" want to encourage the observer to browse, to look for his own solution, through the necessary personal interpretation; thus the pleasure of observing combines with the imagination and the inner world of the user, producing a fantastic game of enrichment. The 56 works presented, also according to a chronological itinerary (from the works of 1976 to the works of 2023), are all characterized by a deliberate search for formal and stylistic coherence. The affirmation of a clear pictorial personality and compositional originality are demonstrated by the repetition of signs, colors and shapes, common in almost all the works: the sheets in the foreground that "fly" across the canvas; the lemons and clocks present in many watercolors and oils; the various waste materials; especially the blue and ocher colors in their more complex shades. In this context and within the dedicated exhibition, the tributes to Italo Calvino for "Invisible Cities", to Elsa Morante for "Arturo's Island" and to Venanzo Crocetti for his sculptures are significant.
Rome, 2 October 2023 Mauro Camponeschi
Mauro Camponeschi 3403499875
www.maurocamponeschi.com
• fb: Mauro Camponeschi Painter
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Studio: Rome, Via Sirte 35.
camponeschi58@gmail.com
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