edited by Ida Parlavecchio
When you turn your attention to one thing, are in danger of sinking fatally in its history. We must learn to tap the surface of the material if you want this exact level remains at the moment.
The rules now thatFrancesco Surdotook over as poetic and that brought him little by little to treat the surface of her subjects with increasingly light touch, up to the limit of the impalpabilit, up to the limit of formalriconducibilit. The water.
The exhibition, which runs through the two rooms in which divided the Gallery, assembles and reassembles a poetic path, exhibition, endless and no start.
Efollow with the technique of graphite or modelled in plaster, the works of Francesco Surdo have a connotationenvironmentnot only because his figures on paper are intrinsically tied to the frame elementd their objective character and transposes into a installation size,but for osmotic report laying down with space and with the viewer. "Silent by random features Portraits, figures of birds, suspended without subtle contour in an opalescent glow, land transparent things of Surdo," writes Ida Parlavecchio introduction on catalogue, "allude to a transitional period, a fleeting existence, are a light texture that laps perceptions and stuff. In their open texture formed small epicenters, sinking points where the surface level is lowered almost to open a hole in layers of consciousness. "
Volatili ideal and Visual sense, these reasons are a counterweight in the white sculptures the artist placed in their vicinity as material polished by water formations, anchors which attach drawings.
the indeterminacy in recent Surdo pi is fulfilled to the end, like a natural step, without betraying the ascendant figurative.
