Mercury's Wind Curated by Davide Ferri
Deliberately incoherent and zigzagging, syncopated and at the same time aerial, the exhibition Mercury's Wind proposes new possibilities for dialogue among Lucio Pozzi's works starting from his recent production, but without renouncing to punctuate it with works that belong to the artist's past, even remote past. The title underscores and revives this seemingly "canny" character of all his research: Mercury is the god of fickleness and lightness (qualities also found within Pozzi's practice), the wind produced by his movements is "storm or breeze," like the movements of thought from which processes of action and reaction are unleashed between works that, though contiguous, seem apparently very different from each other.
Thus, in the exhibition, it may happen that in the same room a diptych belonging to the Level Group series (where pairs of paintings, apparently similar, activate an energetic exchange that is based on gesture, on the direction of brushstrokes, on the incidence of light, on the relationship between the thickness of edges and surfaces) face each other; a large photographic-derived work (again, a pair of images) in which a few essential brushstrokes follow the movements, almost to the point of blurring with them, of a pile of wooden crates found by chance and photographed in a garbage dump; a Scatter Painting based on the "scattering" of lines, marks and backgrounds on the surface, on an agility of forms and colors capable of generating a perpetual non-finite.
And again: it may happen, in the exhibition, that a large figurative work such as Storia, in which forms and outlines of things traceable to reality and others more difficult to recognize compose a score of hypothetical narratives and an infinite range of changes of scale and points of view, is in dialogue with a recent series of Overlap Paintings, still overlaps between forms and planes of the image, but rigorously organized in an abstract score in pastel tones; or that the last, large "flower" made by the artist, a monumental yet iridescent image, stands next to a constellation of small abstract paintings belonging to some of his most emblematic series.
Mercury's Wind thus reiterates how at the center of Pozzi's work, rather than an affinity or a stylistic and formal compactness, is what the artist has repeatedly referred to as "the inventory game": the attempt to make painting through a practice of inexhaustible potential, that is, starting with the fundamental ingredients of painting - the taking away and the putting on, the above and the below, dualism, the four fundamental colors - which generate an infinite range of signs and forms, combinations and relationships among them. The exhibition also raises some fundamental questions about the artist's research and painting in general.
Is Pozzi's work, for example, abstract or figurative? Do these two categories still apply to define painting? What is authorship in painting if it does not translate into a defined style? How do the past and the present establish a relationship within the work of an artist in which the series never close, proceed in parallel, or dovetail into each other even a long time apart? Is it possible to define his work within some period or historicization? Is there, for example, an analytical period of the artist? And if it does exist, how can Lucio Pozzi's work be defined outside of this all-too-brief moment in his career? The exhibition, rather than answering these questions, echoes them by leaving them unanswered. Thus even the reading of a press release, such as this one, becomes one of many possible readings, one of the threads that intertwine with those developed by the author, the curator, the gallerist, and the exhibition's viewers, yet to be traced.