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55
In the art of Oscar Netto, we see the shadow’s
characteristics at work in the transit of presence over
a surface and in the overlapping, vertical sequences
which stress the horizontal shift of the painting.
a kind of stratification. The gesture’s surface reveals itself as support and
passage unravels the blot, sweeps the extreme limit. This sense of tensioned
colour away, making it seem to drip expanse represents a particular
through the stainless surface of the silence, which feels somehow clutched
paper. and dragged beyond the painting’s
The substance Netto uses is oil, threshold in a balance of full and empty,
a viscose liquid, whose properties of migrant weights, from the exodus of
modulate the gesture. In Netto’s the dark mass.
painting, Chenili, we find the two Netto measures the temporal
extremes, between which unwinds deposit within the trace, the conscious
the darker and more dynamic legacy of an experience beside that
gestures attesting to the action, while of being an action. In the structure of
the lighter gestures are connective of the works this dichotomy exists only
ephemeral values. in appearance because, actually, the
Why display two overlapped painting lives in a homogeneous time
surfaces? In this binary revolt to and space.
painting’s centrality there is the desire The moment during which the
to wrongfoot the spectator, to redirect trembling and rustling emptiness
them from frontal view. reveals itself is unique. Pulling away
Pushed to the margins, the the static of the subject, we are at the
darker spots point to the retreat of the essence of Netto’s work, an essence
painting, thus signifying the original which retracts and eludes sight like
limit, the surface area, as if referring “Elsinhor’s Ghost”, but what is left “
to an abyss. The margins of this out of place” in an elusive definition,
atramentum overlook the emptiness is that which precisely constitutes
where an intense light is burning, “the painting”.
a sign of evident inertia, fitting the
syntax composed of two parts.
In the title Chenili, we find the
symbolic unit of the process indicates
the nature of the relationship between
two moments, so that the passing
of the colour over the surface is a
Oscar Netto
dialogue between “surfaces”. The
Born in Latina 1956,
live and work in Rome
painting is in fact, a portrait, a shadow
oscar.netto@virgilio.it testifying to a specific identity, or
proof of a presence that is read in a
temporal sequence of symbolic and
synthetic images.
Bibliography
Netto’s painting reminds us of a
Ernst Gombrich: Art and Illusion. A Study in the Psychology
love story. In the juxtaposition of high of Pictorial Representation.
and low, of above and below, there
Mario Pezzella: Estetica del cinema, 1996 Il Mulino, Bologna.
is always this free margin where the
Massimo Carboni: Non vedi niente li?, 1999 Castevecchi, Roma.
avantoure
|
school of trickery
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