Foto di gruppo

The abstraction of the representation | Alice Rubbini

Photo: Rapicciano di Spoleto, 90s, from the left Riccardo Guarneri, Sandro Sanna, Renzogallo, Marco Tirelli, Daniela Fonti, Franco Ziliotto, Ettore Consolazione, Giuseppe Uncini, Nicola Carrino, Claudio Verna, Pietro Perrone, Claudia Peill, Carmen Gloria Morales

We have often talked to Renzogallo of his many projects, that every time are configured as the result of a condition once made to a dynamic fruition totalizing, in which the research topics are organized following a historical geometry, a chronological indication of the fundamental elements of his work. Drawing an emotional order the artist regulates the disposal of everything along an absolutely and strongly sentimental direction. We are always accompanied the work and its fruition, we are immersed in the right feel, we are an active part, eye witnesses of an inner communication made up of concentration and determination, conscience and transcendence.

The rational reference line penetrates and merges itself in the material and in the contours of the objects revealing at the same time an instinctive suggestion that relentlessly leads us to an emotional confrontation with his work. Two details that indicate the elusive means by which the artist carves and structures a spectacular translation of the concept, consciously and deliberately abstaining from adding anything superfluous and leaving us only with a few all-comprising elements: the colors – and even these essential – and woods, metals, and this in order to immediately touch the dramatic core of perception. A compound of making suggestions with which the abstraction of figuration leaves no space for unnecessary information, does not revolve around the words, the objective aims straight to the vital parts, the heart, the head, to our surprise and to our disturbance. And then there are also the history and the present, codes, symbols and metaphors, and there is darkness around the bright light that stands on surfaces and that enhances the linearity or the sinuosity of the profiles. The artist then settles place and situation, narration and intuition, atmosphere, different contexts and recurring, necessary and unique, dominates the cultured exchange of energies that organize reality and space. The shapes and the signs evoked by the representation, autobiographical and scenic, in the invasion and invention, in simple daily life and in the complex solemnity of his works are a dimension suspended like a breath of wonder, they are lyrical visions always vigilant like the memory of pleasant things, and underline his particular inclination to challenge us to a direct perceptive provocation, simple but deeply stimulating: look or see, hear or listen, pause for breath or live, in an attentive chase between nature and artifice, between concrete evocation or an apparently abstract oblivion. I really like the strong and fair quality of Renzogallo and share his  anti-invasive attitude towards art and the world, the essential quality of the silent and suspended dialogue that conveys the multiplicity of views, the careful layout of his anti-teorical speeches, passionate and persuasive. Even more captivating and provoking are the suggestion and the magnetism of a cultural and poetic transaction that knows how to bring the more fragile dimension closer to the prestige of majesty, or better, the interplay and the substance of the proportions, the narration and destiny of a subject that is ordinary yet at the same time special and extraordinary, just like its own clarity and ineluctability.
Renzogallo can stand the comparison with an absolutist symbolism and does not avoid facing the absolute measure of universality, or, rather, does not escape the present, the past and the future, the three-dimensionality of history, art, poetry and survey aesthetic.
So perception and feeling, seduction, place and determination attributable to a single balance units, in short, his is a real need to translate harmony and symmetry, consistency, as well as mental contortion at times, but definitely big and conscious language narration in absolute work of art.
I could mention three particular thematics: ”Bersagli”, “Anfore”, “Diario” (Targets, Amphorae, Diary), which I would translate as an invitation to taste the magic of almost twenty years of stylistic research making a turn on themselves, looking around and seeing inside, through and beyond, observing the style of a life-long intellectual journey and carefully reflecting on all its indications. The immediacy with which the artist is able to wires and synthesize such a wide range of its activities with few elements you call consistency, and it is a gift that knows no time. After all, time is us, fragile, and our need to scan memories and experiences, to give a value to our changes, to give a shape to our present continuous as we can.
Yes, Renzogallo know skillfully and romantically ourselves faced with an intense contradictory, provoking and inciting our perception, and grasping firmly our balance, he knows how to put into play all our feeling in a seesaw material intensity, conceptual, philological.
“Pensare il futuro attraverso la bellezza” (Think of the future through beauty), for example, project/work environment for the Campus of the University of Tuscia, a huge territorial path branching from a central core is interwoven in its objectivity and structure of materials and trajectories, colors and surface development, with the classicism and modernity, sizes and orientations, with lines that stand vertical and horizontal trenches, with journey indicators and staging bases engraved with the words that make up the title. The direction and hope are therefore already revealed and mixed in the linearity of the sculptural body and the imagined (as it still project) presence of the spectator.
It’s a work that will be immersed in the charm of everyday life and consumed by the youth who believes in an infinite and ideal future, dream and learned through conscious and profound knowledge of the past. It’s a work that will be immersed in the charm of everyday  life and consumed by the youth who believes in an infinite and ideal future, dream and learned through conscious and profound knowledge of the past. In this case, all the usual relationship with the sculpture is canceled because there is no contemplative distance totalizing – except in an aerial view – no protection, no detachment from the earth and man. The void is not failing, fading, gimmick, but breath, crossing, nature. It is full support, reference, step, material and color, is tangibility. The journey is the journey, it is a feeling and mental inclination, is a desire for knowledge. The work is dynamic and changing, as the conditions and the passage of time and the point of view from which it is looked at, as our moods, our passions and our feeling things, the unique dwelling in the circumstances and in its multiplicity of facets.
Art, therefore, that sums up and gives meaning to every above written word of mine, body and soul of a never-ending message, sharp, vibrant, free energy and open debate, always receptive, always generous. A clear and growing intellectual tension, voice teacher of an experience that looks at itself and does not hide, thus redeeming from banality and familiar safety our way of observing life.
Art that has the power to overturn all rules and find the meaning and shape of elusive things and unspeakable emotions.

january 2012 / february 2017