Testi di: Filibero Menna e di Francesco Moschini
THE AGGRESSION OF TIME by Francesco Moschini – 1986
Adele Lotito's artistic path of the last years, has undergone a type of radical turnaround. This began when it was thrown into crisis by the idea of art as a conversational representation, even if permeated by distortions that had become the norm for years - an intolerance towards the conceptual and the project in the name of a new construction of image. The latter recovered distant values from the historical avant-garde, together with the urgency to speak out immediately, with the distortions of a devastated private life, felt like a collective tragedy without any way out. It is this path that Lotito moves along to irrefutably recover the project. With a sort of patient cancelling, she has slowly abandoned her particular ways of unconsciousness, of irony and of surreal, more alchemist than poetic, to, instead, take up a less intimist path that has made its work a sort of rethinking from zero of the work's structures themselves. A sort of zero setting. This does not mean giving up speaking about the world but rather a gradual rediscovering of the structure of language itself. And if this seems to return to her artistic research of the early '70s, reducing painting to a pure moment to reflect on the painting itself, on the way of creating itself and being created, on the basic values, as the only surviving aim of the work of art, as if there were nothing else to say if not to re-verify the way of saying, certainly, many years later, recovering that experience would seem to qualify itself as being without reason, a tired re-propositioning, like a late and nostalgic turning back. It is, instead, this courage to rethink what has already been done, imbuing it with unexpected and new stimuli, qualifies Adel Lotito's research as absolutely new, stirring and surprising perspectives of continuity. This continuity can be seen in all the recent experiences along her artistic path. A continuity, not of images, but of method, technique and intentions. Turning to a technique and a material like incausto and wax urges one to focus on the solidity of the work, shown in its materiality, its heaviness, the physical and time elements in its construction, contrasting with the lightness of the cultural references which Lotito seems to link to it. This is almost like underlining the need to measure oneself with the work and to also dirty oneself with it, entering into conflict with a mental process forcing it to a contemporary level, with an urgency to sink, here and now, into daily problems, to finally reach a work that is a recording of a way in which the single breaks are shown, with their salvation and their falls. Therefore, here Lotito's work returns to broad successive sequences, almost marking, in her evolution, real differentiated moments, each with their own compactness, each with their own ideal conclusion. However, all is maintained along a line of unity and and intensity of truly surprising images. It's almost as if the subject of the work itself had to guarantee a forced continuity, more of a widespread atmosphere than of structure, in the name of a search involving a continuous digging, verifying on the different levels, the work's composition as the first necessity. This is how we can explain the compact sequences that Lotito has brought about, from the initial constructed cycles based on natural or artificial pretexts, as the Fichi d'india, of the Balaustre or the Scale, to the more mature and extraordinary beauty of the incandescent Pietre, the Articolazioni and the Torsioni, until the more recent ones, of the exploration of space, where the new cycle of the Punte appears to be imprinted. From the initial openness, nullified by the lack of structure in the first cycles, pathetic in their elementariness, compelled to float in the already profound emptiness of the work, but unable to place themselves into a sequence and forced to wander like an absent structure, randomly, Lotito has managed to now achieve a tightly-linked concatenation imprinting on those images, rather than the pure sense of continuity, of casual proximity, the rigour of the necessity of each of their positions. If her initial work was already able to contrast with questioning the depth of the background, with its stratification of passing time, with the ageing of surfaces corroded by existence , the sinuous lightness of the carefree evolution of those free bodies, the conciseness of her work now no longer allows for any liberties. Everything is subjected to the aesthetic rigour of an image that must be conclusively built, without deviations or complacency. Any formal richness or redundancy is censured. There can no longer be any allusions to the dense first drafts, dissonant in their juxtapositioning, of a Poliakoff, cited as the distant memory of the incandescent Pietre. The visual entry to the work is also rigorously and knowingly measured. It is always on the horizontal plane, from below and above, but always emphasizing a sort of hypothetical centrality. Thus, the constant appears to be that of a progressive divesting of the work, forced to focus on a few increasingly stripped away elements. These must actually lose their full-relief density, assailed as if they are from the depths of their own abyss, from which they have emerged. They can, at the most, be slightly revived by small cones of light that, however, highlight their rarefaction, thus forcing them to survive and create their double. These sequences, that despite their call to infinity are cut off by the physical limits of the painting, can but only attempt to take a smooth way, or one that is an alternating relegation to an exhibition at the fore, as others are not conceded. Also the gaps that seem to drown in the bituminous indistinctness of the work are toned down, almost transforming them from their initial condition into a distant echo that rebounds, as from an entangled dense forest, until multiplying into mute presences, and so relegated to the simple role of emerging.