"(...)Today's technology is so incredibly rich of opportunities, different materials and forms, that the risk of loosing control of what one is actually experimenting is rather high. The act of experimenting itself, can be considered technologically so, but only if executed within a handicraft reality....even by using new materials, this does not change anything. While in our reality the act of experimenting has always been considered a way to emphasize our communicative skills, its action has always been subordinated to the language of communication. My work can be executed in various ways but there is such anguish in the technological research and the overall organization that one ends up realizing that it is not worth the effort anymore".
Castellani recounts this in part of an interview by Carla Lonzi, called "Self portrait" issued by De Donato, Bari, in 1969. It is interesting to see how he views his own work: he almost lessens the final result of the work executed, emphasizing the articulated process of shaping the canvas. Carla Lonzi denominates it a "liturgy": "Castellani, seems to constantly improve his work: not only he has the capacity of controlling it but mainly he works along with his materials throughout the entire process of completing his work; similarly to how the weight of history enhanced the preciousness of liturgy. Castellani's older works are historically precious, for their relative rarity while the most recent ones are substancially precious since the last one he executed contains the richness achieved from the previous works.
Castellani starts with a refusal towards the use of colours as he does not consider it necessary to a final aim. It is light that gives them life, more than colours and space, and this becomes an element that reveals the richness of the series of canvases executed between 1972 and 1976 with polyester resins. In the catalogue raisonné are registered only 17 shaped canvases by using this technique he had started experimenting theoretically at the end of the Sixties. Between these 17, just 3 reach even 2 meters, and Superficie of the 1973 has been the first made of these three. The resin soaked by the canvas adds a peculiar transparency to it making the structure of the stretcher slightly visible. In some cases works are like achromes, in other cases like in this Superficie, dated 1973, the artist inserts in the composition pigments that have different shapes.
Sometimes they are shaped like "V", some other canvases are completely covered by paint leaving either a small angle or lateral strips unpainted while the central area is painted in acrylic: in the area where the canvas is soaked with polyester resin, strips of warm light seem to pass through the surface, evidencing the poetic work's skeleton.
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