Endless line

The Opere Scelte Gallery opens on Thursday 11 December at 6pm "Endless line", exhibition that hosts the works of Frederic Anderson, Marco Manzoni, Alessia Panfili and Yuji Mario Petriccione.
Endless line means infinite line and without purpose. Indicates whether the contingency of the creative act, which underlies all the selected works, in which the graphic continues indefinitely in space without a clear destination and is a continuity in time.
The designs of the four artists are atavistic automatic reporting on the white paper mental images as well, often without references rationally comprehensible.
Graphite is much more than a means of expression and becomes the substantive subject of the work. The sign, with all its peculiarities, then ignores all meaning extrinsic doing reverberate the lack of intentionality. The artist finds satisfaction mainly in the beauty of the stretch and in the same wonder that the pencil produces sliding on the sheet.
The Englishman Frederic Anderson presents the new series Study for an enclosed space. The pretext of the work is found in metal grilles, which, in the cold repetition of form orthogonal, cancel to enhance the graphic sign. Anderson repeats several times the same design, performed without looking at the support, then deletes it and starts to draw the signs that in turn create deeper furrows where the graphite deposits indelibly.
Marco Manzoni exposes Unidentified Flying Object or drawings of unknown objects that give the artist a chance to score freely indeterminate and endless lines of mind. The artist Paul Tognozzi was involved in this artistic production by sending friend Marco directions on the form of UFOs (undefined objects posted in blogs looking for experts capable of restoring their identity). Manzoni then reworked the information in atypical forms which in turn can find identification in the gaze of the viewer.
Alessia Panfili proposes work that consists of two parts: a more narrative which is figuratively and explanatory episodes of personal life all set on a bed. The other part is more introspective and there is a transfiguration of actions and characters by overlapping shapes-allegories. The combination of the two sections leads to an intimate reading that goes beyond the stereo image.
Yuji Mario Petriccione draws the dark visions, memories, fantasies and illusions that after being produced are autocensurati in finding pseudo icons that might reveal even the artist himself, the relationship between thought and beauty. Added to this are aphorisms that Petriccione writes on the same drawing sheets that serve as free space for reflections.

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