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TOMMASO PANZERI

UNTITLED WORKS 26 LAVORI PER CARTA & DUE POESIE

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UNTITLED questo e’ un nuovo progetto che continua il mio percorso su acquarello e carta a mano iniziato in questa forma con la mostra del maggio 2014 alla galleria Studio44 di Genova.

Sono lavori successivi in cui sfrutto la qualita’ pittorica della carta himalyana con la sua leggera tinta come superficie di fondo su cui l’acquarello prende forma. Nel suo essere pigmento liquido, e’ sensibile alla piu’ leggera variazione del piano.

dedicato a marta, carola, sofia e luigi che continuano a sopportare e di cui non potrei fare a meno... to marta, carola, sofia e luigi who keep tolerating and with whom I could not live without...

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Questi acquerelli fanno parte di una serie di lavori sulle relazioni tra lo spazio, il tempo e la materia come dimensioni narrative della percezione. Spazio inteso come rapporto di equilibrio tra le parti colorate e la superficie di sfondo; tempo come velocità del gesto pittorico in relazione al periodo di asciugatura del colore; infine materia in quanto carta, che da semplice supporto diventa elemento della composizione.

Sono dei monocromi, in cui delicate variazioni di tono nascono dalla stratificazione del colore che nella fase di asciugatura si deposita sul foglio, delineando una sorta di mappa “idrografica” della superficie ruvida. La carta, non inumidita in precedenza, accetta o rifiuta il colore molto diluito, lasciando affiorare la texture nascosta della polpa di cellulosa che dopo essere stata stesa ad asciugare sui telai si dilata e si restringe sotto l'azione dell'acquerello steso con generosità. Ilsolo atto di inclinare il foglio di carta per disperdere il colore in eccesso diventa un nuovo strumento espressivo, che conserva tutta la pienezza vitale e personale del gesto umano.

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Sento che il tempo impone all'inizio una certa velocità nella stesura dell'acquerello, ma poi si espande e diventa una necessità per l'osservatore, affinché possa entrare in risonanza con il quadro, trasformarlo in punto di riferimento e collocarsi nel suo campo d'azione.

La dimensione ridotta delle opere contribuisce a mantenere l'esperienza in un ambito più intimo, ma non per questo limitato.

"A painting is not a picture of an experience; it is an experience." (Mark Rothko)

fogli fatti con corteccia di lokta o mitsumata, da colture rinnovabili di piante native delle colline ai piedi dell’ Himalaya dimensioni; 50x75 cm

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These watercolors are part of a set of works on the relations between space, time and matter as narrative dimension of perception. Space as balance between colored fields and background surface; time as in the speed of the pictorial gesture versus the drying time of the pigment; finally matter as in the paper, that from simple support material turns into fundamental element of the composition.

They are mainly monochromes, where subtle tonal variations arise from the stratification of color as it layers on the sheet, highlighting some sort of hydrographic map of the rough surface. Paper, not wetted beforehand, receives or rejects the watery color at any one time, uncovering the hidden texture of the paper pulp after it has been left to dry on the moulds and shrinks as an e ffect of the watercolor generously painted. The act of inclining the sheet of paper to disperse the color in excess becomes a new expressive tool, which retain the vital fulness of human gesture.

I feel that time, at the start, requires speed in laying down the color, but then it expands and becomes a necessity for the observer to allow him to resonate with the work, and turns it into a reference point to re-locate himself in the area of action of the painting.

The smaller size of the watercolors contributes to keep the experience at a more intimate level, although not becoming a limit.

"A painting is not a picture of an experience; it is an experience." (Mark Rothko) sheets are made from the bark of lokta or mitsumata, from renewable cultivations of native plants from the Himalayan foothills. size: 50x75 cm

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LONDON - 25TH FEB. 2004 EVERYONE SEEMS TO BE MOVING UNDER THE CAREFUL TUTELAGE AN EMPHASISM ON CREATIVITY THREE AT THE END PART IN SHORING UP FOR THE CULTURALLY DIVERSE POINT WHERE IT MIGHT REALLY STILL NEED INDIVIDUAL SUBSUMED UNDER CORRECTIVE EXCLUSION IN THE LAST QUARTER PICTURE OF THE RED COMPLETELY INCLUSIVE FIGURES ON THE SCENE CERTAIN SECTIONS SOLELY ON THE CATEGORY. SHOP MANUFACTURING BAGS DIVERSE THE CONTENT OF A BAG STRONG SCULPTURE MULTI-MEDIA. BUT THE REASON REMEMBER, WRONG SPLENDID FROCK MOST PRESSING REASON VISCERAL TILE EVIDENT AROUND A SINGLE, HOWEVER, THERE WAS ORDINARINESS MOVING, IN SMALL WAY. TORRENTIALLY RELENTLESS, EVENING WAS PACKED AUDIENCE EAGER SERIOUS DOLOROSA EXPLOIT FRAMING HISTORY AND MITH. FAMILY MOVIES FRAMED BY A THICK BLACK COLOMBARIUM PLAGUES OF THE HOLOCAUST WITH ANOTHER BLACK SCENE THE NEXT LAYER OF HISTORY AND SCRUTINY DISTANCE. RECTANGLE, THE UNFOLDING NARRATIVE. EXTRAORDINARY MYTHOLOGY PENETRATED TO SUCH AN EXTENT EASILY RESIDUAL FRAME AT THE PERIPHERY POWERFUL AND IMPORTANT ELECT HIM.

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LONDON - 6TH SEPT. 2004

MORE THAN AN IRONIC COINCIDENCE THE NEWS STANDS A MERCILESS FIRE RAGED LARGE PROPORTION MATTERS OF TRANSPORTATION GAS CYLINDERS AND FIRE ALARMS SYSTEMS. DESTROYED BY SUCH ONCE-YOUNG (THAT TENT, THAT BEACH HUT) BUTTERFLY PIECES, AT ALL. “STIFF-UPPER-LIP” PER LIBERAL CREDENTIALS BEING BOMBED AND PEOPLE DYING FLASH FLOODS INTO PERSPECTIVE MIMETELY CONSTRUCTED CAN NEVER BE “MADE AGAIN” THE NATION, DENIED THAT THIS IS EVEN IF ONE QUESTIONS WAS DESTROYED, INFLUENTIAL DECADE MYSELF “WATCHING” CONTEMPORARY SURROUNDINGS OF THE PRINCE VENTURE, COOL, MUCH HARD-EDGE FILM OF THE SAME NAME DECIDEDLY CORPORATE CITY, MOMENTS AND CONTRASTING “ORDINARY” ASPECTS OF LA CLOSE-UP-TOPLESS SHAVING IN THE BACK OF LIMOS FROM PURE DOCUMENTARY ELECTRO SOUNDTRACK TO COLLAGE DEVELOPMENT AREA STREET, AND AT STREET WHOLE AREA IS BURSTING INTO SPEED CROSS-CHANNEL DRUG DEALERS BRIGHT NEW BUILDINGS SPACE IN BOUNDARY ROAD SKYLIGHTS. NEW SPACE IN SCALE A FURTHER PRIVATE VIEWING QUITE ENORMOUS TREATED TO TWO MURAL-SCALE EXPRESSIONISTIC AND ANGRY BROUGHT WITH PROBLEMS. WHO HAVE MADE WORK TAMING OF NATURE CARPET OF 10,000 RED BLOWS ACROSS

THE END THE STATELY NAMES.

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