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Whether does a completely autonomous line and colour interact? when does a realty and abstraction intersect?
Even an attempt of instinctive interpretation of the work of Nicola Morea from Bari puts these problems, which in his special frontier world between formal and abstract, find so exciting attractiveness, which cannot simply be neglected.
It is connected with that Nicola Morea had good luck to live at the rare, from the "geo-graphical" point of view, lands of Murge.
As never earlier this term targets to the point: geo-graphy, writing of earth. and on the earth. Geo-graphy - of Nicola Morea appears to be a test , how and in what degree reality and abstraction converge in a focal point, in some kind of area, in which feelings of perception reach a maximum.
Autonomy of lines and colours, contained in them, preservate here autochthon's language, free from descriptive superstructures and, at the same time, for the account is the perfect geographical fact landscape narration uses " parallel convergences " of segmentations and tones, which till completion of game of visual perceptions and reaching "an effect F", opens the clearest sensation of a flight over space Murge, broken by band of deep valleys and slopes, up to the most secluded corner.
who is he, Nicola Morea, an allegorical artist or the last of buccaneer abstractionist, attempting "to tell earth", impermeable for any kind of cultural infiltration?
Neither that, nor other. The interpretation of his work deprived of defects ancient lamentations about formal and informal, icon-painting and not icon painting, directing boredom in show-rooms of the seventieth - eightieth years, with all evidence comes to understanding geo-composed Morea's canvas as addressing to optical art " in a terrestrial and earthen manner " as Vasari would tell, in such a manner, that earth breath (as on the picture "Campo di grano" 1991, is truly felt, and 'Murgia rossa" 1990) and due to pellucid abilitv of eye to percept the focal point is reached.
But the talk is not only about colour parallels of the Nicola Morea: being advanced in explanation his work we'll see, that the artist from Bari adds outlines of Murge's structures? A certain female, mother aspect: it's not accident in the topography slanting heights, which are suddenly lowered in the hospitable roundedness, are names by knolls (mammella (it.) - female breast).
At Morea's art is present rush all beings to the Mother - Earth, as an entreatv, expressed in sincere or naive manner, decide this yourself by anatomy (for example "Murgia"). It is not difficult to show. With the help of these relief volutes, marked on the surface of canvases by a strong hand of the artist, that the earth is a woman absorbing semen, being opened to the sun and moon as like as soft roundedness of a female body. Last, but not least by significance, in explanation of Morea’s work Is an anthropologicai aspect of separate periods, (look '
Donato Conenna
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