Everything flows, everything becomes more
It is difficult to identify, with current artistic styles, or with a historically defined language, the work of Domenico Montesano. Despite being present in his painting compositions, you can not define paintings, nor can they be ascribed between installations, because they do not belong to one space attemptable; or even identify with concepts, symbols or other significances compared to their show; despite what his job is to deal with other expressive and artistic realities of contemporary art, often drawing on a particular linguistic aspect that, although it used by many artists, It has never been independently affirmed and which manifests itself in the technique of Dadaist defined memory assemblage. So, for an immediate approach to this kind of composition, His works can be counted among the three-dimensional compositions, where coexist objects, of different material elements, natural or the result of other manual; undefined components, also in the form, who face each other.
Another key aspect is the aesthetic component. His works, indeed, They are proposed as a reflection on some languages that have relatively fed part of the artistic events of the sixties, that is, when there has been a prolific contamination of the languages of. Many artists have their works converse with other styles, without these would evolve or become another. The experimentation of those years (then for many consolidated) He hath measured with the most diverse expressiveness. We can cite the bags of Burri or the glued Gastini glasses on the surface, and still remember the broom Rauschenberg and sticks with glasses of Jones, the iron powder floating on the surface of Varisco, the Spoerri crockery, woods and irons Kounellis or pottery shards or Cragg, just to name a few. linguistic ramblings that were never transformed into an autonomous language but remained complementary and enriching other languages.
So in this way that Montesano looks to the path of art history, conscious also of significant scope inherent in the concept of reuse. So it is necessary for the artist to shape the creativity in a communicative context in itself already effective.
There is also the realization that the language of art is forever changing, and this leads him to pursue a linguistic and creative development staff not only in terms of making, but always keeping in mind the aesthetics of the work function itself. Intending for the aesthetic process of formalization of a balance between its elements but not before having looked at individually to the components and their functional transformation in time and space. And this leads him to customize his relationship with the randomness, alternating design rationality and creativity, and then focus its work in the ongoing process of the work itself. Only in this way manifests harmony between his own nature (as he said the good Sapegno) and the language of art.
Montesano is well aware that objects or elements that freely manipulates have a past, they carry with them the signs of another story. Artist is given the task to originate a new form, to interpret space, to invent new balance “infinite solutions with interlocking regarding games like clay, wood, plaster and color”. The result is a new form that mixes current and past; what remains is only an essential and significant track evolution in flux residue of nature.
But Reuse expresses neither this, since the matter comes from the past, no past because, as Augustine would say, the past no longer exists because each component has lost its first identity. This is why the works are evidence of an act, as a synthesis of the dialogue between the relevant history of the elements that make up the work, and a new aesthetic form. And this leads us to read assemblage as the transformation of both forms in the time of its identity and spatiality of its components. This type of reading leads us to understand his works as metaphors instability being. A being uncertain, for if in some works are made visible in others it is only perceptible, because deliberately estranged from the description. not explicitly completed works that are entrusted to a phenomenological reading, leaving the viewer with the opportunity to identify their possible or probable identity. This seems evident in landscapes (but these are only so if we want to see them), in which the pieces, karst rocks or broken timbers assume positions and shapes that cause the viewer to recognize the waterways, the roads, also the insidious paths for their instability, however images of a journey.
And in those streets, in the sequences of houses or river routes, rationally accentuated by the artist, It is materialized the idea of a path that penetrates the river representation, as a metaphor of becoming - even paraphrasing panta rei Heraclitus - that, in history as the time of things, everything flows, everything becomes more. What it was before will not be in the future, since the forms are transformed over time.
The only this is the color; a color that fades, houses, amplify, illuminates the work. supplementary element of a material molded in its single and sometimes unique shape. In this context, the color becomes narration and thus enters into memory, nell'esternazione of human perceptions that connect the memories (as not appreciate, Also in the words of Ungaretti, the sad and absent Monte San Michele? Although only mentioned in the title) with feelings.
And this evocative aspect you can glimpses in his paintings. Slender in matter (watercolor on paper) as vague visions of a world of signs and lively perceptions. There is no figure, there's the world around the artist. His painting (as indeed the assemblage) It does not represent real objects but draws atmospheres; a bit’ testimony of a living world (how not to look at Karst before arzigogolanti signs as vegetation warm colors of brown and gray, raw image into a stony surface) or a fantasy world, where the soft color, the bluish colors and cloudless, introduces our imagination in an almost unreal or apparent world. His paintings are an expression of feeling himself rather than see the world around him.
So between an undefined shape - flat or three-dimensional, materials or painting it - and an idea of imbalance, offered by its unstable, Montesano's works are transformed into allegory uncertainty of being in walking the evolution of life. Yet under unstable mystical surface once again flowing water metaphor the idea of time and of those forms that follow one another and are transformed. The artist is responsible for update them and significarle Montesano and knows how to communicate the story of the elements with a new form, knowing that his create can only be a partial moment of the temporal path of matter that manipulates.
Diego. Collovini
