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Monochromes

29.11.19 — 28.02.20

The merging line unifying the artists' works in the exhibition "Monochromes" at Galleria Mario Iannelli is a visual attitude in which declines the possibilities of seeing and "letting see", and at the same time this experience, its duration and the idea of the underlying procedure embody the object of the work itself.
The title works as a first word compared to the research that artists unroll and interchange in the exhibition, in which the painting on canvas by Daniel Lergon, Yorgos Stamkopoulos, Tyra Tingleff and Stanislao Di Giugno converge with the intervention area by Schirin Kretschmann and Simon Mullan.

 

Daniel Lergon, since his beginning, when he painted coloured backgrounds monochrome on semi-transparent supports, places the observer in a moving standpoint, thus in the changing monochromes on reflective canvas, of zinc, or copper on canvas or aluminium as well as in the most recent paintings with phtalogreen and then crimson red on fluorescent yellow, the colour can bring forth sidereal distances and natural phenomena at the edge of the human eye perception. 
Through the monochrome Lergon filters the ability to see, the possibility of defining an object, therefore its rendering is surreal, poised between light and shadow, reality and dream.
Yorgos Stamkopoulos sow traces on the canvas on which then he removes with a "de-collage" performing a process of defining space that is made up by monochromatic fragments.
In his latest works, the painting becomes even more explosive, enriched by later interventions, as if they were dry corrections of a fresco, serving like disturbances to the perception of the monochromaticity setup.
In the paintings of Stanislao Di Giugno, the painting and observation processes are objectively represented in the full range of monochrome tones repeated in sequences, brightness variations that establish a presence of the space on the sculptural kind and even so vanishing such as a screen or a shifted frame.
Tyra Tingleff's large formats are in reality an anti-view, visualizations of transformation processes. The shape seems to implode in crunches at all temperature levels. Dissimilar to the other exhibition's artists, she does not usually produce monochrome paintings.
The site-specific interventions by Schirin Kretschmann highligth the structures of the space and expose it to a change. The painted surfaces on the wall dissolve over time, having their own physicality under the use of non-traditional materials.
In the works of Simon Mullan, the monochrome takes place thanks to the influence of industrial work in generating the artwork. Poor materials like overalls, textiles of bomber jackets and tiles are used as modules of a modernist grid that assemble internal movements, vanishing points, rhythm. For the exhibition, he created the artwork on the structure of the gallery glazed façade by modifying the design on the existing grid.

 

 

 

 

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