- 25
Enrico Castellani
Description
- Enrico Castellani
- Superficie bianca (2)
- firmato, intitolato e datato 1988 sul retro
- acrilico su tela
- cm 80x80
Provenance
Ivi acquitato dall'attuale proprietario
Literature
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
L’opera si presenta come una tela ritmata da un flusso di energia che si manifesta in traiettorie e simmetrie visive, producendo una continuità spaziale che prelude alla totalità interiore. Il bianco, un non-colore, di essenza assoluta e indiscutibile, fa calare un silenzio muto sulla tela ed esalta quella dialettica luce e ombra che l’artista ha da sempre ricercato, sottoponendo così l’opera a una continua metamorfosi.
L’oggettiva imparzialità cui ambisce Castellani assume una struttura logica e matematica che si traduce in costellazioni formali e moltiplicazioni di sequenze, conseguendo una visione bipolare in cui il rilievo è presenza, e il contro rilievo è assenza. E in questo alternarsi di intro ed estroflessioni, si levano tensioni cariche di una forza interiore in attesa di invadere o evadere, irrompere o fuoriuscire. Nel testo curatoriale della mostra Lo spazio dell’immagine a Palazzo Trinci a Firenze, Castellani scrisse: “Anche la realtà ha un dritto e un rovescio che combaciando si negano a vicenda”.
La neutralità dell’opera fa affiorare uno sconfinato senso di distacco. Eppure, si riesce a cogliere la presenza dell’artista nelle scelte di materiali, colore, composizione, distribuzione – scelte che portano al culmine l’introspezione degli elementi, oltrepassando così i limiti del linguaggio per arrivare alla condizione totale dell’essere.
Superficie Bianca embodies Enrico Castellani's discourse on the notions of presence and void, a research that places at its centre the cancellation of the self as creator, and the subjectivization of the object as artefact, essential conditions for the establishment of an eternal dialogue between the body and its immaterial extension. It's with such methodical and rigorous process, namely reducing the object to its intrinsic elements such as the canvas, the nails, the shape and the volume, that Castellani arrives to an art representative of nothing else but itself.
The work comes forth as a canvas punctuated by a flow of energy, which manifests itself through trajectories and visual symmetries, producing a spatial continuity that preludes to the inner totality. White, a non-colour, of an absolute and unquestionable essence, casts a mute silence over the canvas and highlights that dialectic on light-shadow, which the artist has always sought, thus subjecting the work to a continuous metamorphosis.
The objective impartiality that Castellani aspires to assumes a logical and mathematical structure which translates into formal constellations and multiplications of sequences, following a bipolar vision according to which relief is presence, and counter relief is absence. And in this alternating of intro and extroflections, tensions thereby arise, charged with an interior force that is waiting to invade or escape, break through or leak out. In the curatorial text of the exhibition Lo spazio dell'immagine at Palazzo Trinci in Florence, Castellani wrote: “Even reality has a front and a back side that when in correspondence, negate one another."
The neutrality of the work conveys a boundless sense of detachment. Yet, one can capture the artist's presence in the choices of material, colour, composition, distribution - choices that bring to culmination the introspection of the elements, thereby exceeding the limits of language towards the attainment of an utter state of being.