Opening: 2 February | 4 - 10 p.m.
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Sequences of a panorama
“The boundaries of our mind are constantly shifting and many minds can flow into each other, so to speak, and create or reveal one mind, one energy.” W. B. Yeats, Magic, Adelphi, Milan, 2019, p. 17.
Lucid dream is the oxymoron that best describes the dimension that Gianluca Capozzi’s painting discloses. The situations, environments and characters portrayed in his works elude the phenomenal world and narrate the nonlinearity of time and space.
The works that the Sequences of a panorama exhibition presents are sequences that probe the eye as it captures fragments of panoramas that by analogy become inner landscapes.
The new paintings in the series Stanze, interiors, made for the exhibition, feature living rooms of middle-class houses with a vintage atmosphere, which become for Capozzi metaphors for a being Inside to look inside. Here, heaps of abstract forms, nebulized and superimposed on figurative elements, outline domestic scenes that nevertheless do not give rise to intimate and cozy scenes; on the contrary, they decline into phantasmagorical contexts, like the optical illusions that occur during an altered state of consciousness.
Everything is interconnected, and everything is animated by energies of different hues and vibrations flowing together. The work of art is thus, as Aby Warburg had this to say, a dynamogram, which is an instrument that records the passage of a force.
For this reason, Capozzi’s painting transcends pure representation and transfigures it by layering the image and deflecting its apparent meaning. In his operation of conjunction of figure and abstraction, of gesture and minimalism, of drawing made of lines and colorist drawing, Capozzi’s paintings open to an altered, psychedelic dimension, where temporal planes blur, and interiors, made of metal modernist furniture, fòrmica and glass, leather sofas, acid colors on the walls, and, as in a mise-en-abyme, hanging paintings, construct a setting, deserted and silent, where no human figures appear, because it is these very interiors that observe the human figure that we as viewers are.
Capozzi recreates places of an altered elsewhere, a parallel, dreamlike dimension, which also returns in the second series in the exhibition, Untitled, which draws instead on vintage photographs of female figures. Unusual poses and evanescent figures, they are the ghosts who may have inhabited those same living rooms, and who break the irrevocable linearity of the passage of time for an eternal impermanent present, in a provisional balance that transcends the boundaries of minds.
Mattia Solari
