This is how I would like to introduce this selection, keeping in mind that there are surely many other young artists who are embarking on roads adjacent to ours. We already see that Claudio Cerritelli in his age-old research on the 'aniconicity' has proposed, and continues to propose, "abstract" artists, tied to the more traditional abstraction and also the more innovative. However, we are convinced that our artists have presented radical new ideas, at the same time, remaining in the wake of that great historical phenomenon from which we take the name "abstractionism". In the past, abstraction was achieved with sign and colour, with a certain degree of rigidity – aesthetic and ethical, at the same time – while the Mondrianian forbade the use of diagonal lines and colours that were not the three primary ones, white and black and their median, grey. Nowadays, young artists can work, without, however, deviating from the rules - the imperative aesthetics and ethics, that are obviously different to those of the 1920s – with great freedom and we have, therefore, the opportunity for a great diversity in signs, colours and materials. If in all abstract painting, at least the geometric, the motto "less is more" has been effective, then, now, "reduction" can avoid the "rigidity" that has led, for example, Malevich to producing a painting in only one colour. The present monochrome is less frugal, with a final result arising from the use of different colours. The "sign" is also enriched, so a simple segment can be transformed into letters or a number.
The above brief lines should facilitate an introduction to the individual works of the artists, who testify, in all or in part, to the assumption of conceptual and factual terms already affirmed. Adele Lotito has abandoned the usual colours of painting and in order to "colour" the surface, always in aluminium, she has used smoke from a candle, black smoke. She rarely adds a colour, and if she does, it is only red, and then resins, producing a dark composition, with all the variations of black through to a light grey. On the surface there emerges Arabic numbers that can be, or not, accompanied by letters of the Latin alphabet, thus summing up the two cardinal points of Western culture. The use of numbers is also interesting as this is an abstract sign not only in writing but also in its own foundations. In fact, letters make up the words that refer to an object or a "real" concept, but instead, mathematics is an abstraction par excellence, not to be found in nature, like a tree or love - neither numbers nor lines or points.