Intangible Connections
From the presentation to the exhibition catalogue:
We can talk about “Intangible connections” in this exhibition where conceptual forms, revelations, abstract and metaphysical entities meet and relate on the ridge of the imagination as eclectic representations with a surprising creative matrix.
There is a mysterious charm that links the works of the five artists involved: Salvatore Carollo, Giampietro Di Napoli, Yūrei (art name of Nini Ferrara), Domenico Labate and Maristella Rana who each exhibit with their own language, their own differences, one’s own inner world, giving rise to autopoietic representations with unexpected correspondences.
Thus it is born from the most disparate techniques: from xylography to oil painting, from acrylic to material up to picto-sculpture, a transversal path woven by the relationship of stylistic and iconographic codes, sometimes conceptual, sometimes spiritual, which find balance and stimulating counterpoints in immaterial suggestions. Each of the authors is contaminated by a growing impetus that leads him into a transcendent, timeless space, where through symbols and metaphors he immerses himself in the dimension of the ineffable, the non-visible, in an imaginative process such as immaterial transfiguration of the world which makes it reappear in a sort of suprareality. Every expressive and compositional autonomy is therefore the result of that “nascent state of apparition” of which the painter Francis Bacon speaks, the image is released instantaneously and inevitably as a symbolic translation of the unconscious.
Channels of parallels accompany different images in a dialogue open to comparison and in a subtle game of equivalences, affinities and at the same time distinctions that leave room for infinite possibilities of reading, reminding us that perception goes well beyond what apparently appears .
Graziella Bellone, Curator
Yūrei, my notes
I didn’t wonder too much about the “Intangible Connections” that one day started to buzz around me, intrigue me, slowly fill the void between a heart and a white canvas, or a sheet of paper on the table, or the black darkness beyond the stage. I let them flow among the other things of life, of everyday life. But I was certain of one thing; of their very close relationship with myself, with my being what I am, evolving in this life that we also know how to make of sand and stones, of non-existent reflections, of faint images. Of “intangible connections”. I began to paint, letting the color flow on the canvas a lot, without looking for an incipit or a goal, in the certainty that the void that was being filled was already beginning to be a circle, a ring: between me and the canvas, or the sheet, the black beyond the proscenium. Ring like me. Imperfect. Yielding to life. Because it is easier to make mistakes, not to adhere to the canons, to move in one’s own inapparent clumsiness, to give in to oneself. My intangible connections, therefore, could not be far from me, that around which my circle closes, like water around the walls of the glass. And through the walls correspond intangibility to life, to everyday life, to its sliding in and out of me, day after day. And all these thoughts pigeonholed like letters on the printer’s table, I easily read with the word “sin”. Here are my “intangible connection” to life: the mistake, the mistake, the scratch, the crack; the coincidence of action and reaction.
On the occasion of the exhibition, my works and those of Maristella Rana were awarded two special mentions assigned by a jury of authoritative University Professors and Art Critics.
