Accardi is renowned for her geometric abstractions and deconstructed canvases. In many ways her work is emblematic of the postwar condition; it highlights the radical and irreversible breakdown of all cultural and political discourses in a Europe blighted by the Final Solution and the ineffaceable rhetoric of the Third Reich. While the Marxist approach to cultural objects was one which demanded the promulgation of a particular worldview, Forma 1 sought to posit the group’s deliberate rejection of clear representation as a meaningful decision to privilege form and sign; something which could transcend the implicit limits of figuration. The group eventually dissolved in the 1960s, but Accardi continued to favour abstraction. The gradual introduction of Arabic calligraphy and quasi-hieroglyphic elements into the artist’s work served as more of a formal and conceptual experiment than as a move towards figuration.
Accardi’s gestural, linear forms seem to blur the distinctions between shape, symbol and script, and ludically break down the traditional attribution of meaning to mark-making. The present work Azzurro Rosso, is a vibrant example of Accardi’s tendency to break down semantic fields and bring the very idea of order and lexis in to consideration.
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