ADRIANO DI GIACOMO

Breve Nota Biografica

Born 1948, lives in Rome. Studies: High School of Art, Ancona; University of Bologna (anatomical design); Academy of Fine Arts, Roma.
Since 1969, he exhibits in personal and group shows. Museums and Collections: Mystique Museum, Malta; Paper's Museum, Fabriano; Bagnacavallo, Ravenna; Museum of Modern Art, Spoleto; State Collection Gyor, Hungary; Land Museum St. Margherita Park, Perugia; Communication's Museum of Senigallia City; Popular Bank of Milano; "La Colomba", Venezia; Cafe Mozart, Milano; Praia a Mare (Cs) Museum.
Archives: Biennale d'Arte, Venezia; Pecci Museum, Prato; PalExpo, Roma.

Cliccate sulle miniature per ingrandire le immagini.

Breve Nota Critica

The emergence of architectural structures, dilated by signs/symbol of the post-metropolitan human condition and of the disgregation, featured in the historical/political valency, through the vision that proceeds by accumulation, enumeration and iterance of today's archeological findings, assaulted or absorbed, prospectively speaking, and estranged movements, while filament drosses pass through the empty spaces of a glance, returning it to the painting. With "Hyperthermia", Adriano Di Giacomo introduces a strong element of ethical-cognitive tension, metaphor of a collective dimension which surpass the same metropolitan scenarios to make itself a cosmic condition - albeit historically featured - of a state of feverish fibrillation which induces degenerations, in material-biolical magma by which through oppositions, the cold proportions of technocratical symbols of domination are defined. The multiplicity of the vision - brought by the continuaI and rapid sliding of the point of view of the observer, in a sort of dramatic perceptive ambiguity, from the exterior to the interior of the field, from the centre to the margins, along lines of disruptive and striking escape, the "banality" of perception and the "normality" of interpretation - reconsigns the details of an "exploded" territory on which the artist exercises a cold analysis and pathos gestures in order to restore post-metropolitan images to total artificiosity. The representation proceeds by synthetic foreshortening, given to a strong valency feature, or by analytical procedures, fusing the complex connection of the elements by which a hierarchy of relations and functions are established: starting from "Evoluzioni e passaggi" (Evolutions and Passages, 1995) on the ambiguous complexity of the systems, to the most recent works (1993), from the two large paintings dominated by an oblique and impending "passage", to the "box of memory" which assemble by incongruous fragments the broken unity of an urban cosmic from the apparent modular order, to the rarefied and "protected" silence, separated in the frame/box which - recovering material and procedure of the artist already used by the same in the early 1980's - sanctions the approach in reducing the essential components of being and thinking: an unfinished "space", a territory, a sensor.
The thematic knot of the search by the artist, right from the early 1970's, concentrates on the analysis of spaces intended to be the places of complex systems in which nature and history interact, by congruity and opposition, both organic and inorganic, with the obvious and significant absence of man from the scene. The complexity of the analysis conducted by the artist - through numerous studies, researches and activities, which leave sediments and permit the use of various instruments and languages - is translated in the complexity of the structures and linguistic choices. The resultant is a metaphor - metaphor of history - which is foundered on the estrangement produced by the discrepancy between the "normality" of a hypothetical scenario as a possible, and anyhow confirmed by its same represented state, and the modes of its definitions and representations, through prospectives pushed to the limit, which run along unlimited fugues and which wager in the apparently precarious equilibrium, in reality burying itself under a strong constructive projective.
A semantic purpose substantiates the work of Adriano Di Giacomo which moves not really in order to formulate definitions as much as provoking questions as to why in the destinator/observer - attracted or repulsed by the inside/outside work, and anyhow involved - the doubt stir up firm cognitive certainties and pushes the eye beyond the "passage", towards what which is placed beyond the space temporal of the immobile fiction of the noted order, of the reassuring "normality", which laziness and perceptive atrophy belie.

Torna all'indice