In one of the most famous scenes of Hollywood filmography, a literature teacher, John Keating (played by an extraordinary Robin Williams), during one of his lessons, gets on the desk and says: "Why do I stand up here? Anybody? I stand upon desk to remind myself that we must constantly look at things in a different way."
There is a silent world of lights, colors, visions. Realistic but at the same time metaphysical, concrete but at the same time evanescent. A world where the real data through the creative process is returned in its ideal essence. A world where light represents a fundamental component that intervenes on the works, expanding their boundaries and creating unpredictable, always different forms. A reality in continuous transformation and evolution and in continuous and constant dialogue with the inner world, the spirituality. It is the world of Francesco Candeloro of which we are well aware of the plexi silhouettes dedicated to the cities, to their skyline, to the profile of the landscape that outline the buildings of a city and their highest points. A universe of multiple visions that express the flow of reality. Looking at his works, I remembered the film mentioned at the beginning because Candeloro's works are a great stimulus for all of us as they invite us to see things from a different point of view.
We can admire this at A Arte Invernizzi where there is the exhibition Francesco Candeloro. Luoghi Misure Variazioni with a selection of very interesting artworks. In one room, there are some plexiglass skylines, visions of an “architect of the immaterial” that bear witness to the artist’s life experience. On the same floor there is Vie di luci nel tempo (Beirut) a work in which Candeloro investigates “many aspects of the real world, with transparent images that open up the viewer’s perception in a continuous alternation of concealment and revelation”. On the ground floor, there are other artworks that testify the artistic practice of Candeloro that is the overlapping of acetate sheets. Nine “books”, consisting of coloured sheets with slits that are a filter in the continuous exchange between inside and outside.
In an increasingly autonomous conception of form with respect to the need for representation, the image from which Candeloro’s entire work originates, as a photographic revelation with a physical status of its own, is itself a filter between the material nature of the thing and its ideal form. This aspect of interconnectedness, which places the work on the borderline between presence and absence, on the one hand addresses known forms, which are to some extent verifiable, and on the other hand it looks at shapes in the making. The latter receive their momentary consistency by re-proposing themselves, along the lines of various hypotheses, in the way in which works belonging to a category of multi-layered compositions can be displayed on the basis of various geometric logics. In both cases, Candeloro’s works act on the level of transfer. On the one hand, we have the outline of a city, from a position that is not necessarily recognisable, as a view of an “other” place absorbed in the light that generates itself in the space that contains its condensed, abstract image. On the other, the wall-mounted compositions allude to venturing into a hidden, intimate dimension, which is revealed by hiding itself. In both cases, the surface becomes part of a complex process, from plane to labyrinth.
(Francesco Tedeschi, show curator)