The world is no longer before him to representation: it is rather the painter who was born in things like concentration and came to him the visible and the picture, finally, can relate to anything empirical only if they first autofigurativo may showsomething just being show about nothing, piercing the skin of things to show how things do things, and the world world.
Born in Florence in 1978, graduated in Philosophy in 2006, he spent long periods in London and Berlin to study in deep the languages of contemporary art. His works are turned to the subject of sign and space; as Egruhgs Sntyeggh, well-known art critic, has had the opportunity to write “in Massimo Quadrelli’s works the sign claims his own inner life from the beginning exactly because it arranges and composes itself. The artist becomes observer of the event, genesis of meaning, initiation into the connection side of the sign with the sign as the basis of a final report with the sense”.
LOGIQUE DE LA PÉNSÉE PRÉALPHABÉTIQUE
Logique de la pensée préalphabétique” or the slope of search sapienziale of the first roots, in odor similarly of anthropology and of magic, of philosophy and of alchemy. Not the game iconografico, not the oneiric illustration fascinates him, but what is in the words of Picasso “the sun in the belly”, the dark and prelogical intuition of the life, to be born and to lose the form, some ability of the sign to run away to himself toward a radiant reverberation of senses.The artist faces “the presence of the sign”, he makes it grow and to form it as reality in itself. He doesn’t care to recognize it, to engrave it a destiny, a lògos common:il sense of the trial is to excite it to give it, to make generation, in the mobile flow and without master that is it really. In these evident tangencies, they also fed of oriental suggestions, resides an attitude that doesn’t recognize it in some to have to be of the painting, less than the current idea of language, and of style.Therefore, the picture doesn’t represent any things, but it is presence: it doesn’t tell the reality, because, in itself, reality. “The paper-canvas|space resounds as a membrane, a to flow of feelings, images, signs without master so immediate and indirect to pierce in truth of lived; a to climb some thought, a to converge, a to overlap of ‘fragmentations of memory’, one to fray it and a to renew it of nothing, ‘flesh’ of time and of space.”
“The expressive horizon of Massimo Quadrelli is defined more in the sphere of thought than in that of pure expressivity, in search of the meaning of our being rooted here, in the world, in this sort of uninterpretable enigma that is the world. Massimo passionately follows the intimate generation of the sign to which he does not attribute particular meanings: his genesis, his expansion in the space of the painting, his free expression as a formal concretization of the deepest impulses that guide the brain and the hand in the their continuous, dialectical relationship. The artist lives his time with fullness and originality and his works seem to find their aesthetic foundation in sensation, rather than in a complex system of meanings. And it uses a creative mode that reverses the traditional modes of image production. The canvas becomes a plan of projections of signs and surfaces designed and processed on an external support, imprints transferred not according to a process of technical reproducibility, but only with manual intervention. The hand is not a prosthesis of the brain, but the protagonist of the creative act with the same dignity and the same weight. The picture thus becomes a pulsating organism in which stains, signs, surfaces on which the artist intervenes further are freely moved, also modifying the original layout of the matrix: a process borrowed from engraving or photography, but which does not makes use of any chemical or mechanical expedient or, even less, IT. The expressive incisiveness of the father and grandfather, who remained tied to the figurative, turns into bold abstractions, hand movements and thought-conceived in their pressing unity – supporting the movements of the soul, of the conscience / unconscious.
But, mind you, his works – which in my opinion achieve the best results when they are oriented towards the infinite variations of monochrome – have nothing to do with pure gestures, since at their origin and throughout the creative process they have a ponderous work of thought and reflection that reveals the passion, dedication and creativity of a cultured and sensitive researcher.
Ilario Luperini (art historian)