The image of the wreck, the ship at the mercy of the weather, occurs in Western figurative with some frequency since the romantic era, when Delacroix, Turner and Friedrich have place in a different way, in the center of some of their most famous and challenging compositions. The sinking as a metaphor of the unequal struggle between man and nature, typical of the culture of the early nineteenth century, then turns over time – and as a result of events of great impact on the collective imagination, such as the sinking of large ocean liners or naval battles of the two world wars – in a wider metaphor for the transience of life experience, a sort of memento mori that transforms the wreck in an abandoned animal between or near the shore.
Are the Gigantism of the image, the size of these objects, the transition from life size, epic, optimistically of their output in technological sea to immobility without hope, to load the wrecks of a symbolic that, as evidenced by the recent experience of Kiefer or Cucchi, continues to act as a pretext even in contemporary figurative. The recent work of Alberto Storari arise, therefore, within a noble tradition without indulging in nostalgia or hyped excerpts are concentrated as the definition of a pictorial language extremely sophisticated and rugged collection, where the clarity of vision and balance in the composition of the hardness of the iconography. And it is on this point of balance between discomfort and joy of the gaze and the materials that his poetic meets with the appearance of quite another inspiration, Marco Di Giovanni, the second protagonist of the exhibition today. John's installations, in fact, they strike first for the poverty of the materials used, to be their authentic relics, destined to disappear once their immediate function. Antigraziosi materials, tin cans, rusted pipes, that of John wake through a process that involves both the physical experience of the subject as more abstract look, prompting the Viewer to permit long-term observation, from which emerges a new image, and unexpected, objects themselves and the environment. Without forcing the reader to two research taking place in full autonomy, is clear in both instances are the experience of the gaze and the field to lead these paths, even beyond the pure evidence of image. The pictorial place is the rescues Storari, for his visionary key metamorphosis, where the tissues that emerge from the bottom, the glimmers of silver through the composition tell search beauty on the edge of exhaustion, yet always controlled by a distinct consciousness of doing, the instruments at its disposal. A look beyond the surface, beyond the skin of the painting, which communicates with the lens to see ambiguous of John, which assume a look mobile, but eccentric, founded on laws of optics and physics.
In both cases, therefore, is the paradoxical, sometimes dramatic, sometimes ironic coincidence of opposites to make these perfect become other wrecks, appearances – concrete and not ghostly – a willingness of amazement and wonder that comes from the images and things, by the intensity of the gaze and hand skills.