Patelli. Works from 1961
12 March - 01 May 2004 | Trieste, Museo Civico Revoltella
curated by D. Marangon
It is completely random approach to painting artist. Leave the Istria in 1947 he moved with his family in Veneto where, after a degree in chemistry, dedicated to the research university. But "neglecting poetry and literature were the primary interest" (as he says himself in a biographical note) will be just the art to capture him. Stimulated by the most progressive elements of the Venetian environment, he exhibited at the Galleria del Cavallino in '63. These were the years of Saigne dans l'obscur and in my craft, or sullen art, works from which can be deduced deep affinities with Kline and Francis, but also with the casual Italian, albeit with a more reflective and thoughtful.
The other works in the exhibition are thirty years later, when it Patelli dedicated himself to painting from his studio refuge in the Veneto countryside. Abandoned the classic use of oil and canvas (in favor of different formulations of acrylic and wooden supports), the color becomes more material and instinctual.
Tints of the same color gamut are juxtaposed cooling the pictorial gesture with a delimitation of geometric surfaces, such as stolen away, where the plates form a ring blue square from painted by metallic colors, or Blue December, kind of triptych consists of two large tables topped with a thinner dark.
And it is precisely using un'abbozzata arrangement trilithons, coupled with a horizontal series of painted panels, which realizes Stonehenge, of which there are also the preparatory drawings.
In the works of the late 90's used a lot to spatulas and areas of diffuse color as the yellow and purple metallic wounded to the heart, in which the four square boards are mounted together united by a Greek cross, black seems to capture the lines of force . The passion for assembly of the planks emerges nell'assorta Orpheus, Eurydice, Hermes in which the psychological tension of the wall, where the three tables appear to call anchor it to the floor with wooden stands. The same period the huge table space of Jackson, which is placed on the ground supported by the wooden wheels.
The work of recent years-except for right hand-left hand-are more aircraft, with a white background and numerous, isolated spots / drops / strokes. This is the case of Endless Summer (2004), but most of all I want to be Miro (eight planks laid side that are very reminiscent of Jackson Pollock), in which the freshness color caresses the eyes of the spectators, after a mischievous Decreased is the power of words, covered of written put on the contrary, it has inevitably squeezed attention.