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Vismara Arte
Piazza San Marco 1, 20121 Milano
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Italy
Tel.++39 02 29000367
Fax++39 02 29000367
Contact: Zita Vismara e Walter Pater
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Claudio D'Angelo Sui margini, oltre i margini
Claudio D’Angelo’s original formal compositions can claim to posses a precision and continuity that is rarely seen in art today, dominated, as it is, by a fashion for eclecticism and the banner of mixed genres and styles.
Nonetheless, the artist has never abandoned his search to evolve his work from the language of pure abstraction towards a dimension of absolute essentiality and means of form.
D’Angelo’s work was already highly distinctive back in the ’60s and ’70s for the unique nature of its visual prepositions, including every kind of mannerism originating from perception, if it were not Gestalt in concept.
In fact, in this field, D’Angelo was able to demonstrate that the fundamental elements of a new language of visual perception should also be founded on the creative inventions of a deeply sensitive imagination.
From that point on, D’Angelo created works in which elementary articulations of symbols and of space are reconstructed in an obviously minimalist schematic, in an attempt to depict the silent spirit that drives the act of imagining. This has led the artist to deconstruct the very fibers of form, in turn creating space in which unpredictable events could unfold—events prompted by a sense of imponderability and of invisibility. Freed from the music in which every beat was predictable, D’Angelo let his works dance to a more fluid visual and spatial rhythm.
D’Angelo came to identify Deleuze’s theory of the “fold” in each expression of movement, of symbol, and of form. That is to say, the transformation of the perceptive and imaginative energies into a dimension of almost relentless visual breaths.
In D’Angelo’s work it is not only the symbol that “folds,” but the space itself—the very space that makes way for that inclusion of essential formal presences.
Space and symbol turn towards one another in a parallel reversal of roles: space is already a symbol and symbols, in turn, originate from space; both are created by that act of “folding” which permits every action to understand from whence it originated.
In one cycle of works, D’Angelo adopts an equal spatial frame in each piece—which is determined by a slight distension around the edges of the paper supports—and intervenes on the luminous, homogeneous white background with extremely delicate chromatic beats, or light strokes of the brush.
Here D’Angelo works on the meaning of the brushstroke, on the resonance evoked by luminous trails, in the fragments of sound waves that render the surface essentially a space in which one should listen.
It is D’Angelo’s aim to represent the concept of threshold and he therefore moves his freshly captured perceptions to save them from entropy. In so doing, however, he knows where he must work on the edges of that physical and metaphorical space: he must work on the margins, beyond the margins of the visual plain and beyond every hypothesis of form.
From the long gaps, which for another might signify empty abysses, unpredictable traces epiphanically emerge in D’Angelo’s work—some slight symbol that materializes, on the infinity of light, to comprehend the energy that prompts the hunt for the exceptional meaning of an essence, which in itself is beyond poetic equal.
Toni Toniato
Claudio D’Angelo was born in Tripoli in 1938, He lives in Ascoli Piceno.
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