The elaborate works of Enrico Minguzzi
Ąººïģº³ Ïê ȪȨȨȮɐ zìđ Ĉèº ĩºąɊ ̺ áĉó «ºèº ĸêáïĉđ đ đìº iąºèïó
ºáºĉđº ê³ Ąėêêºąɢėā Ïê đìº Sđïóêá ĄĐĈ ģą³ɐ 9ê ȪȨȨȯɊ ̺ AEÏʺ³ recognition for his work Babel, the Places of Contamination ê³ Ïê ȪȨȩȬ Ąººïģº³ đìº Qêđºaeê ºĄĈÏ ģą³ɐ
ZÌÏĈ ĩºąɊ ̺ ÏĈ đìº Ąºïāïºêđ óä đìº 9óê iąïįº Äąóè đìº êđóêïó
óāāóá ,óėê³đïóê ÄÓĄ ÌÏĈ ģóąþɊ D’oro decoroɐ zìº 9đáïê Äóėê³đïóêɊ ĢÌÏÌ ģĉ ºĉđ«áïĉ캳 Ïê ȪȨȩȰ «ĩ ºêđąºāąºêºėąɊ óááºđóąɊ ê³ Ąđ Āđąóê êđóêïó óāāóáɊ Āąóèóđºĉ contemporary visual languages and supports emerging talents.
QÏÊAEĖĮĮÏɭĈ Ąđ ÏĈ Ąºóaeêïįº³ as original research that liberates ĀÏÊĐÏÊAE Ïêđó ĈĀºɊ ááóģïêae Āïđórial material to live beyond the artist’s intent—a fusion that serves as a metaphor for painting’s perpetual óĉïááđïóê «ºđģººê AEºÊĄºĈɊ ³ĩnamic representation of the current artistic landscape.
So how does one begin to compreÌºê³ đìº ºá«óąđº ÏÈAEºĈ QÏÊAEĖĮĮÏ presents here? Not quite representađïóêá ê³ ºąđïêáĩ êóđ ăėïđº «ĈđąđɊ the subjects nevertheless appear áïģºɊ «ĄºĐÌÏÊAEɊ ê³ ĐÌĄÓ««ÏÊAE Ĉ ÏÄ at any moment it would burst out of the canvas and grab the viewers and envelop them in a cocoon of a yet to be discovered substance.
,Ąóè ³ÏĉđêºɊ đìº ĢÓĄÞĈ Ĉººè almost photographic in quality and đó đìº Āáĩäėá èïê³Ɋ đþº đìº Äóąè of things that are familiar. Yet upon áóĉºą ÏêĉāºđïóêɊ đìº ºĩºĉ Ąº «óèbarded with a burst of details that seen from afar as a woman’s sensitive ĀĄĐĈ «ėđ đó êóđìºąɊ Ïđ ê «º ÁÏĢÏÊAE ÓĄAEÊÏĈÈ ĐĄĨÏÊAE đó ĸê³ «áêº ê³ Ĉó Ĉ đó Ąºèïê ĈĐʳÏÊAE óê ĀáđäóąèɊ at the same time making sense of the world it found itself in.
\êº óä đìº ÁĄAEºĈĐ ĀϺºĈɊ GloboɊ ê ºĉïáĩ ĀĈĈ óĵ Ĉ ê Ïêđºąāąºđđïóê óä đìº Ìėèê ºąº«ąá óąđºĩɊ with neurons continuously pulsing to óä óáóąĉɊ QÏÊAEĖĮĮÏ óāºêĉ ÌÏÈĈºÁÄ ėā to the work and listens to it until he ĺºáĉ Ĉđïĉĸº³ɐ
“The works start immediately on the canvas without sketches of ĀÌÓĐÓAEĄĀÌÏ ĄºäºąºêºĉɊɪ QÏÊAeėįįï Ĉĩĉɐ ɩ9 ģêđ ºĢºĄĨĐÌÏÊAE đó be spontaneous and that all the Āóģºą 9 ê AEÏĢº Ïđ đó «º Āėđ ³ÏĄºđáĩ óêđó đìº êģĉɐ 9 ÏÈAEÏʺ Ĉºº³ ÌĈ áąº³ĩ «ººê Āáêđº³Ɋ merely waiting to blossom into something else entirely with the passage of time.
“Flos” is on display at Altro Qóê³ó Ąđº óêđºèāóąêº ėêđïá
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