Visual interferences play on the abstract and figurative dichotomy in a continuous tension between ratio and creative power.
We start from the noise/rumore effect created by the exchange between these two souls: the spontaneity of the colour and the harmony of the installative art employed by the artist.
Visions arrange as residual of memory. They are broken up by a tangle of flourishing signs in an abstract painting that blinks at informal, as if to mime the snow effect on TV, that is a noise caused by an external interference.
Legs, faces, bodies seem like visual frames or jerring notes that beat the rhythm of the whole path. The only possibility of reading the real, conceived as a mnemonic cycle, is given by a network of relations between disappearances and appearances.
Ratio encourages the chaos to create a harmony even if confused, playing on the combination of canvas or their messy arrangement. Between clashes and harmonies the effect is Noisy.
The exhibition suggests a less linear perception than in the past, it points to a sort of balance between Apollonian and Dyonisiac, harmony and spontaneity. Without it, there would be an explosion of emotions out of control and in need of order in the world. Duration invades the space where the frames of the past, with all the potential lapses and confusions typical of the memory, change when the visitor arrives.
As Bergson’s words remember: “But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration”.
On an artistic level, memory materializes into the realization of abstract or photorealistic canvas, releasing the artist from the obligation to maintain just one linear style. Past moments are recalled and modified at the present time.
So, the image often dissolves, resurfaces, emerges and harnessed in abstract brushworks.
Between the explosions of the images and the recomposition of an order, it doesn’t make sense to find the style. There is no more evolution, just interferences that show the way forward to new visions and knowledges. All this for catching the eye of the contemporary world.
Both paintings often taken from photographic portraits and fragments of places create a sense of mistery. There are all the styles: from the expressionist brushworks to the colour casts, from the highly tactile paintings to the sign ones. There is the chance to touch more lives through the superimposition of languages. This noise seems to flow across appearences, disappearences, bad and good moments typical of a journey through the memory.

Antonella Palladino