DiegoEsposito_06 التي كتبها ancasta1901

<b><a href="http://www.antoniocastagna.it" rel="nofollow">website |<b><a href="http://www.facebook.com/ancasta"> facebook |<b><a href="https://twitter.com/ancasta1901"> twitter</a></b></a></b> ...ambiente - environment</a></b> <a href="http://www.artapartofculture.net/2013/07/27/diego-esposito-lintervista/" rel="nofollow">www.artapartofculture.net/2013/07/27/diego-esposito-linte...</a> C’è una logica colorata: il pittore non deve che obbedire a lei, mai alla logica della mente. (Paul Cezanne) Diego Esposito was born in Teramo in 1940. From 1968 until 1972 he lived in Philadelphia hosted by Temple University, and in New York. In 1969 his first solo show was held at the Philadelphia Art Alliance. He made the acquaintance of Barnett Newman and Mark Rothko. In 1972 he returned to Italy and settled in Milan in 1974. Early on, his distinctive interest in Goethean chromatics became the cognitive instrument of his work. In the early ‘70’s he made a series of monochromatic canvases composed of various pieces of canvas immersed in boiling natural pigments from which organic geometric forms were produced. Cammino su un tappeto fatto da me stesso (Walking on a carpet that I made myself) (1971) is a rectangle composed of sixteen yellow quadrangular shapes. Symbolic valence is imbued in the color, making it the inner reflection of painting itself. An alchemical element comes to light through technical procedures. In 1973 he was invited to the group show “Italy Two. Art Around ‘70” curated by Alberto Boatto and Filiberto Menna at the Museum of the Philadelphia Civic Center. Two important solo shows were held in 1974: at the Galleria dell’Ariete of Milan and the Galleria La Bertesca of Genoa. He travelled extensively around the Mediterranean and in the Middle East. He took with him on these voyages – which are to be considered a metaphor of the initiatory path to wisdom – folded canvases and note books in which he recorded his memories of the places he visited. In 1975, Senza titolo (Untitled) brought to completion the conceptual reduction of color theory as well as the topology of form. The sequence of white sheets of paper which composed it cancelled the shaded nuances present in the manual application of paint. His work was shown at the Galleria Toselli of Milan and the Galleria Banco-Massimo Minini of Brescia. In Il presente si è fatto cerchio di luce bianca (The Present has become a Circle of White Light) (1976-1977) color reappears, filtered by a glass window in a door, thus transforming luminous intensity into a quality which is physical and spiritual. The summer of 1977 was spent in Stromboli, where the idea of La casa impossibile (The Impossible House) was conceived: a work in which spatiality is suggested by three photographs framed under glass. He participated in “1960-1977 Arte in Italia” at the Galleria Civica d’Arte Moderna e Contemporanea di Torino. In 1980, Il volo dell’uccello notturno (The Flight of the Night Bird) is presented at the Galleria Paola Betti of Milan, a work that reduced the degree of conceptuality making room for the re-emergence of color, drawing, graffiti, photography and folded canvases. The installation was composed of a sculpture modelled from polystyrene, gauze and plaster using the Omphalos stone of Delphi as a model that was draw on with graphite, as well as a wooden sculpture painted with dark earth pigments and blue, tipped to one side as if poised for flight. The culture of the Mediterranean is his source of spatial and imaginational inspiration. The piece’s spatial coordinates where inspired during trips to the Dodecanese and the Cyclades islands as well as Delos, Rodi and Patmos. During the ‘80’s, trips to Greece and Turkey were inspiration for other works (Isole bruciate, 1980; Stanze d’orientamento, 1983) (Burnt Islands; Orientation Rooms). He began to experiment with artificial light sources of a cadmium yellow color, a symbol of divinity and of purification. Shown at Galleria Pero of Milan in 1981, his first wall mosaic of polychrome tesserae functions as a link between the East and West, the lands of his lengthy journeys. He participated in the group exhibition “Linee della ricerca artistica in Italia 1960/1980” (Lines of Artistic Research in Italy) held at the Palazzo delle Esposizioni in Rome. Other mosaic creations follow such as Stanze di orientamento (1982), Corpo nero (Black Body) (1985-1986) and Stanze dell’aria, del fuoco, dell’acqua e della terra (Air, Fire, Water and Earth Rooms) (1989-1990) at Villa Imbarcati in Pistoia. In 1984 Bet-el is installed at the Salone di Villa Romana in Florence. In the mid ‘80’s he experimented with ancient techniques updated with contemporary methods (Blocknot, 1981; Sphaera graeca, 1981-1982; Vetta solare (Solar Peak), 1983). In 1985 he began to make Corpi neri - Oggetti invisibili (Black Bodies - Invisible Objects) through the combination of mosaics and metal. In 1986 he dipped the polychrome ceramic piece Oggetto invisibile inclinato verso nord-ovest (Invisible Object tilted North-West) in the Bosporus Straight after it had been on show for three hours at the Leander’s Tower in Istanbul, until the total invisibility of the artwork was achieved. In contraposition, Oro (Gold), an ovoid mosaic re-emerged at the Punta della Dogana (Customs House) in Venice in 1987. Eastern tradition is fused once again with that of the West. During these years the work produced traces the origins of the archetypes of form: Orientata (Oriented), (1989) Dualtitudine (Dual-altitude) (1989), Forma sonora (Audio Form), (1989-1990), Specchio e Pozzo (Mirror and Well) (1989-1990). In 1991 a solo show was held at the Galleria Civica of the Estense Castle of Mesola. In 1993 he exhibited at the Fondazione Mudima of Milan. An expansive anthology of his work was held in 1998 in Pistoia at Palazzo Fabroni. In the year 2000 he was invited to exhibit at the University Art Gallery UCSD of San Diego. In 2001 he showed his work at the Ludwigsburg Kunstverein of Ludwigsburg and produced 43°51’678“N-11°6’570”W for the Centro per l’Arte Contemporanea Luigi Pecci of Prato. In 2003 he inaugurated an anthology at the Pinacoteca Civica and the Villeroy &amp; Boch exhibition space in Teramo. He participated in “Haifa Second International Installation Triennale” in Haifa. In 2004 he was invited to Kanazawa Japan as artist-in-residence -at the 21st Century Museum of Contemporary Art and at the Kanazawa Art University- where he produced the permanent sculpture Celato/Svelato (Hidden/Revealed). In 2005 a solo show was held at the Galleria Ihn of Seoul entitled “Unstable Equilibrium”. In 2006 he participated in the exhibition “La scultura italiana del XX secolo” (XX Century Italian Sculpture) at the Fondazione A. Pomodoro of Milan as well as the XII Biennale internazionale di scultura di Carrara “La contemporaneità dell’arte”. Today Diego Esposito lives and works in Milan and Venice.