Suggestiveness

The language in the works of Selden, Polenghi, and Morandini.

It reflects a condition of reality only in appearance. The visual experimentation appears imprinted in severity that seems to leave space for fantasy, in reality these artists express emotions and thoughts that become signs and substance.

Selden’s way of moving is that of those who know how to represent the apparent condition of objects, carrying out processes of significant expansion, proposing a poetic synthesis based on analogy, allusion, and primary signs of immediate readability. The predominant use of these collages in the decoration of his ceramics can be defined as two-dimensional chromatic sculptures.

For Morandini, the reference to Euclidean geometry is instead reworked in an imaginative and even playful key, especially when developing optical effects based on points, cuts, and decorative games that appear misleading exactly in the sense that they are narrative ideas.

He therefore voluntarily places himself in an illusory situation of uncertainty between the severity of his geometrically ordered propositions and the pleasure of presenting a plot that decodes a reduced form in pure synthesis.

For Polenghi, his monochromatic paintings establish static balances that, in their abstract aspect, communicate a virtual and purified reality where it represents a flow of energy.

In these cases the objectivity of the representation is entrusted to the design and manipulation of the pictorial material which is laid on the canvas by reciting an Indian mantra, which adapts with perfect synchrony to the calibrated rhythms of the forms as in the search for a utopian infinity.

These three artists who seem so different. In reality, they are very close to each other, and in this regard, we want to offer our audience an exercise in suggestive style where a purely visual dimension is privileged, whose value is tied to a geometrically cold elegance and optically deceiving from a volume and spatial occupational point of view.