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TOMMASO PANZERI

UNTITLED WORKS26 LAVORI PER CARTA & DUE POESIE

questo e’ un nuovo progetto che continua il mio percorso su acquarello e carta a mano iniziato in questa forma con la mostra del maggio 2014 alla galleria Studio44 di Genova.

Sono lavori successivi in cui sfrutto la qualita’ pittorica della carta himalyana con la sua leggera tinta come superficie di fondo su cui l’acquarello prende forma. Nel suo essere pigmento liquido, e’ sensibile alla piu’ leggera variazione del piano.

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dedicato amarta,

carola, sofia e luigiche continuano a

sopportare e di cui non potrei fare a

meno...-

tomarta,

carola, sofia e luigiwho keep tolerating

and with whom I could not live without...

Questi acquerelli fanno parte di una serie di lavori sulle relazioni tra lo spazio, il tempo e la materia come dimensioninarrative della percezione. Spazio inteso come rapporto diequilibrio tra le parti colorate e la superficie di sfondo; tempo come velocità del gesto pittorico in relazione al periodo di asciugatura del colore; infine materia in quanto carta, che da semplice supporto diventa elemento della composizione.

Sono dei monocromi, in cui delicate variazioni di tononascono dalla stratificazione del colore che nella fase di asciugatura si deposita sul foglio, delineando una sorta di mappa “idrografica” della superficie ruvida. La carta, non inumidita in precedenza, accetta o rifiuta il colore molto diluito, lasciando affiorare la texture nascosta della polpa di cellulosa che dopo essere stata stesa ad asciugare sui telai si dilata e si restringe sotto l'azione dell'acquerello steso con generosità. Il-solo atto di inclinare il foglio di carta per disperdere il colore in eccesso diventa un nuovo strumento espressivo, che conserva tutta la pienezza vitale e personale del gesto umano.

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Sento che il tempo impone all'inizio una certa velocità nella stesura dell'acquerello, ma poi si espande e diventa una necessità per l'osservatore, affinché possa entrare in risonanza con il quadro, trasformarlo in punto di riferimento e collocarsi nel suo campo d'azione.

La dimensione ridotta delle opere contribuisce a mantenere l'esperienza in un ambito più intimo, ma non per questo limitato.

"A painting is not a picture of an experience; it is an experience." (Mark Rothko)

fogli fatti con corteccia di lokta o mitsumata, da colture rinnovabili di piante native delle colline ai piedi dell’ Himalaya

dimensioni; 50x75 cm

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These watercolors are part of a set of works on the rela-tions between space, time and matter as narrative dimension of perception. Space as balance between colored fields and background surface; time as in the speed of the pictorial gesture versus the drying time of the pigment; finally matter as in the paper, that from simple support material turns into fundamental element of the composition.

They are mainly monochromes, where subtle tonal variations arise from the stratification of color as it layers on the sheet, highlighting some sort of hydrographic map of the rough surface. Paper, not wetted beforehand, receives or rejects the watery color at any one time, uncovering the hidden texture of the paper pulp after it has been left to dry on the moulds and shrinks as an effect of the watercolor generously painted. The act of inclining the sheet of paper to disperse the color in excess becomes a new expressive tool, which retain the vital fulness of human gesture.

I feel that time, at the start, requires speed in laying down the color, but then it expands and becomes a necessity for the observer to allow him to resonate with the work, and turns it into a reference point to re-locate himself in the area of action of the painting.

The smaller size of the watercolors contributes to keep the experience at a more intimate level, although not becoming a limit.

"A painting is not a picture of an experience; it is an experience." (Mark Rothko)

sheets are made from the bark of lokta or mitsumata, from renewable cultivations of native plants from the Himalayan foothills.size: 50x75 cm

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LONDON - 25TH FEB. 2004

EVERYONE SEEMS TO BE MOVING UNDER THE CAREFUL TUTELAGEAN EMPHASISM ON CREATIVITYTHREE AT THE ENDPART IN SHORING UPFOR THE CULTURALLY DIVERSEPOINT WHERE IT MIGHT REALLY STILL NEEDINDIVIDUALSUBSUMED UNDERCORRECTIVE EXCLUSIONIN THE LAST QUARTERPICTURE OF THE REDCOMPLETELY INCLUSIVEFIGURES ON THE SCENECERTAIN SECTIONSSOLELY ON THE CATEGORY.SHOP MANUFACTURING BAGSDIVERSETHE CONTENT OF A BAG STRONGSCULPTURE MULTI-MEDIA.BUT THE REASONREMEMBER, WRONGSPLENDID FROCKMOST PRESSING REASONVISCERAL TILEEVIDENTAROUND A SINGLE, HOWEVER, THERE WAS ORDINARINESS MOVING, IN SMALL WAY.TORRENTIALLY RELENTLESS, EVENINGWAS PACKED AUDIENCE EAGERSERIOUS DOLOROSAEXPLOIT FRAMING HISTORY AND MITH.FAMILY MOVIES FRAMED BY A THICK BLACKCOLOMBARIUMPLAGUES OF THE HOLOCAUSTWITH ANOTHER BLACKSCENETHE NEXT LAYEROF HISTORY AND SCRUTINYDISTANCE.RECTANGLE, THE UNFOLDING NARRATIVE. EXTRAORDINARY MYTHOLOGY PENETRATEDTO SUCH AN EXTENTEASILYRESIDUAL FRAMEAT THE PERIPHERYPOWERFUL AND IMPORTANTELECT HIM.

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LONDON - 6TH SEPT. 2004MORE THAN AN IRONIC COINCIDENCE THE NEWS STANDS A MERCILESS FIRE RAGED LARGE PROPORTIONMATTERS OF TRANSPORTATIONGAS CYLINDERSAND FIRE ALARMS SYSTEMS. DESTROYED BY SUCH ONCE-YOUNG (THAT TENT, THAT BEACH HUT)BUTTERFLY PIECES,AT ALL.“STIFF-UPPER-LIP”PER LIBERAL CREDENTIALS BEING BOMBED AND PEOPLE DYING FLASH FLOODSINTO PERSPECTIVEMIMETELY CONSTRUCTED CAN NEVER BE “MADE AGAIN”THE NATION,DENIED THAT THIS ISEVEN IF ONE QUESTIONSWAS DESTROYED,INFLUENTIAL DECADEMYSELF “WATCHING” CONTEMPORARYSURROUNDINGS OF THE PRINCE VENTURE,COOL,MUCH HARD-EDGEFILM OF THE SAME NAMEDECIDEDLY CORPORATE CITY, MOMENTS AND CONTRASTING “ORDINARY” ASPECTS OF LA CLOSE-UP-TOPLESS SHAVINGIN THE BACK OF LIMOSFROM PURE DOCUMENTARYELECTRO SOUNDTRACKTO COLLAGE DEVELOPMENT AREASTREET, AND AT STREETWHOLE AREA IS BURSTING INTO SPEED CROSS-CHANNELDRUG DEALERSBRIGHT NEW BUILDINGS SPACE IN BOUNDARY ROADSKYLIGHTS.NEW SPACE IN SCALEA FURTHER PRIVATE VIEWINGQUITE ENORMOUSTREATED TO TWO MURAL-SCALEEXPRESSIONISTIC AND ANGRYBROUGHT WITH PROBLEMS.WHO HAVE MADE WORKTAMING OF NATURECARPET OF 10,000 RED BLOWS ACROSSTHE ENDTHE STATELY NAMES.

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