Antonio Papasso

Papier Froissé, Year 1998, cm. 50x70

"By looking at the past, at cubism, by reading some of Picasso’s maximes, by revisiting the results reached by some artistic experiences nearer to us, and by working in solitude, I believe the “laboratory” to be suitable for artisanal experimentation and to deep psychological investigation: the “laboratory” - to be understood as the site of work - is no doubt the ideal place from which to start and to go back to for each artistic operation. Creative action must come to life with the free use of materials and tools!".

It is in this "laboratory" situation that "Antigone" becomes interlaced with Papasso, whose artistic identity connects to an apparently casual discovery: a new technique based on the use of layers of crumpled, wringled tissue papers that are then laid on a canvas. In 1979 Papasso exhibits these works at a Milanese art gallery, introuduced by a Roberto Sanesi’s catalogue. Later on, in 1981 he tries his luck in the same art gallery. This time he is introduced by Gillo Dorfles.

Papier Froissé, Year 2001, cm. 70x100 Papier Froissé, Year 2001, cm. 70x100

Gillo Dorfles wrotes:
"... ovoids, rectangles, trapezoids, created through a peculiar technique that the artist has invented and made his own since some years already.A technique which consists in the use of soft papiers froissés (crumpled papers), pug and put in relief on the underlying cloth, creating a sort of materic neologism, which- in turns- is embanked and split from the surrounding shapeless surface of the board or of the cloth" ...
And close it:
"Does it represent a new way to get out of the impenetrable shutness of his ego, a way to break the "egg's shell" or the walls within which the embryo floats immersed in its amniotic fluid? Or not rather an opening a road towards the exterior, towards light, towards a new and different- and maybe more dangerous but more advantageous- communication with the fellow creatures, with society, with the world"

(For a full reading of Dorfles's text: menu Dorfles 1981 and Dorfles 1989)

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