Enzo Di
Martino
There
are works that outwardly manifest their ambiguity, that
seem to play “a double role”, you could say,
thereby asserting their collocation as works not playing
any particular role but claiming instead that their function
is to mislead and perplex.
This can occur with both figurative and non-figurative images.
As in the case of these canvases by Luciana Cicogna which,
while appearing under the guise of rationalistic purism,
assume connotations of emotive expression.
The segments and the cuts which run through them, breaking
up and scattering vast spaces of colour, do not respond
here to any pre-established logic; on the contrary, they
seem to arrange themselves according to a kind of “disorder”
determined by a purely instinctive necessity.
Segments and cuts bring chaos to a world (the surface) which
is here conceived as still and imperturbable, sacred and
untouchable.
Luciana Cicogna’s works, then, while manifesting themselves
through the allusive touch of a formal and often elegant
appearance, play a role which is the opposite of ideas:
Cicogna’s works represent the visual aspect of an
otherwise inexpressible reflection.
Art here is a self-centred practice, as is always the case
in that imaginative world made of mental crossings and movements
of the soul which we call “abstraction”.
December 1984
translated
by Patrick Knipe
trnslated by Patrick
Knipe Trsnslated by Patrick Knipe
