Adele Lotito is also an artist that focuses on the density and compactness of chromatic materials in redefining painting, where there is no desire to cede everything to a series of external references as the initial ideas from which the painting develops, along with the free play of immagination. These givens of reality – architectural fragments or stones taken as stereometric elementary forms – appear, however, entirely reduced to the reason for the painting, almost as if the artist had reread and reproposed one of the happiest of Braque's recipes: "Naturally, the subject can appear as much as the painting allows. The painting knows its own needs well!" The creating of the painting becomes foremost, it becomes the reason for the work itself, bringing together all the other elements, absorbing them and almost cancelling them in the depth of the material and colour. This plays a double role, a barrier and filter, a door that closes and opens, allowing the images to emerge on the surfaces under an elusive light (as at dawn or dusk) or with the sudden red-hot leap of a flame from a bed of ashes. "From the centralization or vaporization of the I. I is all". This is not the first time that I have remembered this brilliant Baudelairian insight and also, now, it seems to me to be a valuable key to understanding the present. After all, isn't the theme of this exhibition perhaps ascribable to an oscillation between two poles and the need, deeply felt by artists, to individuate how scattered and dispersed energies can flow together and condense into a compact nucleus?