The group show Boundary Issues investigates the concept of “boundary” through the work of a particular generation of artists born between 1950 and 1965 who pushed their research off to the thresholds of pictorial minimalism, by thinking back on the relationship between the work and the space, and the effect the environment brings on it, and at the same time, by exploring the pictorial surface’s materiality and plastic feature.
Simon Callery’s work explores the physical qualities of painting as a way of reflecting the experience of the material landscape and of the surrounding space. His approach to art is based on developing alternatives to established conventions by exalting and highlighting the material aspects of contemporary art. Rather than displaying paintings in the finished sense that most people think of, Callery’s works present different elements as thick layers, voids and multi-layered surface which illustrate well his will to explore the boundaries of art.
Maria Morganti’s works are about the endlessly repeated gesture of painting. Her practice focuses on the experience of colour understood as substance and trace of time and existence. One colour a day, which the artist often relates to other realities, other spaces, real or imaginary, and which is layered and smeared on the canvas, board or paper, just like thoughts, emotions and memories.
Experiencing art as a cognitive act through its various materials and processes, the variation of perception and the formation of a personal point of view are fundamental elements in Paolo Parisi’s work. He has explored abstract painting to reflect on ways of seeing and has used monochrome to create a physical experience, transforming architectural space and establishing a new relation between the container and its contents.
At the beginning of the Eighties Gerwald Rockenschaub has been associated with Neo-Geo, short for neo-geometric conceptualism, which is a term that emerged in the 1980s to unify the varying work of artists who criticized the mechanisation and commercialism of the modern world. Although Rockenschaub’s art cannot be simply categorised in any particular style, his animations, paintings based on signs, pictograms, foil pictures and site-related installations, refer in equal measure to ideas of modernism and to phenomena of everyday culture.
Marco Tirelli is known as a painter of geometric images which glow with a mysterious lightness. The images he stores are of essential forms in which the physical object becomes an excuse to cross the border between light and shadow, thus creating a metaphysical relationship with space: here architecture expands until it disappears in an illusory monochrome that envelops the viewer. Tirelli’s works create ambiguity between illusion and reality and investigate the concept of limen in its various meanings.
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