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As in the curatorial analysis of the work of the previous artist (Guendalina Urbani, who I remember chose the artist in the exhibition today, Andrea Frosolini), also in this case I would like to divide two distinct characteristics of Frosolini's work. The first and most important one, to which I will dedicate more space, is the capacity of emotional-vital growth that each of the single rounds exercises on us, on the user. The second is instead an analysis of the conceptual and realizing nuances of the work, such as the paradox, which will then be resolved, of a realization of an abstract and at the same time figurative painting. Although the latter are certainly interesting and important notions for an in-depth understanding of a work of art, what I must necessarily focus the analysis curator, as I said before, is primarily the ability to vivify in the user, a term that will be clearer later. This can happen in many ways, including, as in this case, sensory stimulation. Docile but intense brushstrokes of warm and enveloping color define sensations on the wooden table. Immediately the taste buds are struck by the full-bodied patches, and we feel all the sweet violence, we savor it. And then, at the same time, the vaporous consistency of the sfumato invades our sense of smell. And it seems like we can palpate and hold in our hands those bruised bodies that the artist consciously portrays, and subtly makes us intuit. In a pressing sensory emotional crescendo that leads to the ecstatic impression of having solved an enigma, of being alive, of being pure emotion. What we initially see as abstract paintings are then configured unconsciously, through all the sensory stimuli I have described, in real bruised bodies. Because that's how it is, what Frosolini could have shown us in front of us as a hyper-realistic painting of bruises, he proposes it to us hidden, he challenges us to walk through it through a sensory intuition. And here is the abstract-figurative paradox I was talking about earlier. A work that proposes itself as abstract, is actually perceived as figurative through simple sensory and emotional intuition. All you need to observe this exhibition is to abandon yourself.
Giovanni Damiani
