a perspective which jolts us into imagining in a sort of new birth and origin in every breath. In this sense, the act of breathing opens, in every passage of the piece, vortices of energy which define themselves in colored areas, spiritual haloes of color which host cracks, playful drips, barely implied forms (circles, lines, diamonds, rectangles), mistakes intentionally left in place to balance the symmetry. We stand before a cosmos, and maybe that which we call soul. This is the work’s discourse, exactly everything which is usually led back into silence. We embark upon a journey with the work: at the beginning we don’t know exactly where we’re headed, but finding our way through the woods of narrated elements causes what we didn’t see or recognize at first to appear; we rush to move through elements hidden and continuously revealed with each step. That’s what happens before every color-drag, every doubling of lines which announce spatial fields, signs which crack planes of color. Standing erect is highly complex, any small declination of the head is enough to throw the body into a postural revolution: the artist’s task, I think, is to find the action of conjunction between man and nature, in the impossibility of a definition; to find oneself in continuous verification, leaving ephemeral traces, tracing gestures which are in and of themselves archeology, that is, the substance of history awaiting the future. Building this universe of signs might mean glimpsing the answers through a desire for knowledge, where the body hosts, in its clearing, many things which give space to poetic matter: place, gravity, anthropology, signs, archeology, breath, imagery, courage, suspension, origin. Enrico’s stories change with every instant and inhabit momentariness. They’re trips which run alongside Lucretius’ De Rerum Natura, where a minimal shift towards an undetermined and unknown point and moment determines the origin of a new life. The erasure which often emerges carries with it man’s fingerprint, and is testament to the fact that he inhabits the world. Erasure, dragging, the hand-print, the
stratification and the veiling create openings according to a process of sedimentation: the more we observe these processes, or rather, the more we stand before the work, the more we move inside it, giving life to a new space between ourselves and the work itself. This Mondo Novo seems sustained by a renewed sensitization of the body. I who observe, as though dragged by a slight pressure, exactly as in the dragging gesture and the fingerprint of Enrico’s work, experience a shift in location, the borders of the body and the very skin undergo a breath from inside. My body suffers in desiring this movement induced by the alchemy of the “things” which compose the piece. The small format alludes to the surface and the musical score, which comprises a world. This free-fall into detail recalls primary elements. One wishes, not right away, sometimes years later, to return to these worlds, to get closer and explore them: once again I travel to enter the poetic detail of these labyrinths. I become aware that the works create space and associate themselves with my thoughts. The space within the work in front of me is continuing to develop: every detail is in motion and is not defined by proximity to and placement alongside other elements. Everything moves, vibrates and resonates. It’s crucial to perceive that this being-in-the-process tends at all times to create the elements of tenuity and tension that do not occupy and oppress the work’s territory. Each gesture frees the other and the marginal thing supports the expanding chiasmus. The political gesture of the work is evident: it resists approval, reflecting in every moment on man's posture, the food of the soul in its proximity to the humble that generates a sense of beauty. A story that changes every moment, collects traces and faces, postures and actions, beauty and unease: a story that pushes us forward. A story that shows us new margins and opens us up to detail, the threshold, the ruins of time that form our face, our expression, what’s known as presence. Presence in the world means balancing posture, giving shape and size to time, breaking the body’s habit of inhabiting space and the human landscape. Living in the world makes us human, always in search of freedom.