The A arte Studio Invernizzi gallery dedicated a solo exhibition to the French artist François Morellet, the sixth one since 1994. Within this new show, it has tried to highlight the existing links between works belonging to different time periods. Over the years, Morellet’s artistic research has investigated the unitary space in order to deconstruct and recompose it in a different structure, giving new life to the surfaces and materials through the use of neon and geometric shapes.
The works shown have the power to involve the gazer and to cancel all boundaries between languages and expressive synthesis, with the use of disjointed vector lines drawn with acrylic and rust on different metal sheets, partially overlapping, as in the series “Cloneries”, exposed in the first room on the upper floor. The sight always focuses on one of the possible paths outlined by the lines and the overlapping surfaces, but it is quite bewildered by the possibility of not having the benefits of a pre-established path.
The sinuous lines of the neons, with the glow of its curved light, are in conflict with the preconceived space of the canvas and show as well the possible paths to get rid of the static wall, creating a new consciousness in those who observe.
Looking at the large circular white canvas of the “Lunatic weeping and neonly n°3”, exposed in the second room on the upper floor, where a dense web of crossed white neons is lying, it is clearly evident that this constant game of luminous vibrations, generated by the overlapping and crossing of structural elements, creates a pattern of light that reveals the infinite potential of environment. Here, like in other works which still use neons but belong to different periods, “2+4 angles droit”, “Diagonales hors cadre” and “Mal barrés“, exposed to the second floor, the french artist manages to keep the space alive and activates the complexity of its vital attributes. The tactile sensation of light fills the canvas and goes beyond it, on the wall, to give a fresh impetus to the surrounding environment.
Walking in the halls of the gallery and observing the work of Morellet, you will be involved and overwhelmed by this continuous composing, decomposing and recomposing. You can feel the energy, triggered by patterns of light in space and altered by the artist’s work. The visitor is dragged into the annihilation of the boundaries between different languages and synthesis of potential. One has the feeling of having caught a clue to look towards infinity.
by Daria Ghirardini
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