Top

 

PAINTINGS CHRONOLOGY

“Dust you were and to dust thou shall return”.
Everything returns to its first condition.
As long as it is visible enjoy the colourful breath of life. Everything will return to its first condition. The x-rays: grey grey grey, a touch of depth a flash of white light. Everything will return to its first condition: enjoy it while you can.
“X-rays”: Roentgen, accursed Roentgen. Precisely because they are luminescent they fear the light of the sun. Nocturnal creatures that are hidden from the light of the day. “Hunting for shadows” and for shade I must add.

The conservation of my works: my recurring nightmare. Well motivated on the other hand, because the problem persecutes me for over half a century in which I have painted on average twenty works per year and today there are really so many that need to be preserved.
As if it was not enough, for my own internal needs I have bought back almost everything I have sold and now there are hundreds of metres of shelves that stand before the hapless visitors to my studio. Studio is a euphemism; it is more an industrial building. Something along the lines of Warhol’s factory. The problem has become worse since 1979, the year the period of “x-rays” began. The particular technique used for these works calls for the use of sophisticated colours and special varnish which returns the original luminescence of the plate.

Blessed Roentgen, accursed Roentgen. Precisely because they are luminescent they fear the light of the sun. The “X-rays”: nocturnal creatures that must be shaded by day. They are almost objects of Moldavian inspiration, but luckily do not fear artificial light and therefore can be exhibited without danger in interiors. As Zannier wrote in “hunting for shadows” and for shade I must add. Here then are placed in large nylon sacks, protected beforehand with a layer of soft padding that lets them breathe and does not scratch the delicate final layer of varnish and then they are put in large cardboard boxes. But on careful analysis this series of operations is not enough. This is my recurring nightmare.

Knowledge and sight are nothing but an infinite game of shadows… on the other hand I love nuances.

The idea pursues the hope of a continuation; for a principle based on immortality.

The x-rays were born of a research into new expressive means with which to visualise an essentially reflective work that could solve my personal interior need to find the spirit of man, and set the observer of my works before his own non-awareness of his imaginative capacities, his evocative capacities, the personal ability to observe, with the aim of giving him the possibility to discover that he is fully endowed if he can see oceanic atolls and Amazonian rivers in a skull, in a tibia.
Simplicity, immediacy and depth are reached if the colour acquires an intensity equal to that of the spirit with its primeval strength.

My continued experimentation, creative impulse and need for communication brought my work to new dimensions that allow me to create an incessant intermingling of light and shade and Leonardesque shadows with thought constantly turned towards the representation of exterior and interior life, of old and new, of infinitely large and infinitely small and it is only by passing through the representation of death that I managed to communicate life to seek the essence of truth. Rational or super-rational, lofty thought or elementary truth.

It was important for me not to confront the issue of figurative or non figurative: the x-rays are in fact both one and the other depending on the point of view, according to the state of mind of the observer in the moment he stands before the work, according to the human experience he has accumulated.

Image, research, colour, everything came to me naturally and for this reason I think nothing is contradictory: in substance it all responds to an interior necessity. I sought a universal interpretation of the interior world in which the “secret of the unity of everything is enclosed”. Every form, image, landscape or cloud can be found inside us: the human body is the container of everything that can be seen in nature; at times in a muscle, at time in the lungs, other times in the oesophagus.

The mirror reflects the light, clearly visible in my canvasses, I went beyond, I penetrated the mirror and I found the form and inside the form, the essence of the soul.
The representation of this as immediate expression of the spiritual. Light as active ingredient of life, form as a deep introspection of the unconscious. My imaginative fertility brought me to sound the labyrinths of the spirit and the mind and I have x-rayed thought and existence so as to represent the whole using intimate images and light. A leap into the unknown that was considered known, in search of the truth: and it is here that I see what I feel and what I am.

 

1954
Origini

1963
Ricerca in bianco e nero

1964
Monotipi

1965
Optical e collage
Pittura materica
Affresco

1966
Collage

1967
Monotipo
Prefagocitatrici

1968
Fagocicatrici

1969
Macrofagocitatrici

1977
Elementi fagocitanti

1980
Fagocitati
Fagocitatrice massima

1981
Radiografie

1982
Fagocitazione in vetrina
Radiografie
Pierrot
Fagocitazione da fumetto

1983
Velati e svelati
Radiografie
Antiporno

1984
Radiografie
Tipo e monotipo
Decoupage

1986
Post-umani
Vetrine

1987
Rivisitazioni

1988/1998
Radiografie

1999/2001
Ecografie
Angiografie
Scintigrafie
Radiografie

2002/2003
Radiografie

© 2022 - All Rights Reserved - meneghettirenato47@gmail.com - tel. +39 0424.285191