Gianantonio Abate
Carmelo Strano
Nov 1993 L'Arca 76

An assemblage of objects based on an attentive coherence, which is not just linguistic, but also connected with materials, has always characterized the research of Gianantonio Abate (Como, 1954)

Works such as Bandiera, from 1984, or Vascello senza Pace, from the same year, come to my mind. Here, the metonymy of the subject is largely avoided due to an imaginative potencythat disdains mere fantasy.

He shows himself to be among a number of promisingartists on the international scene, not only because he has exhibited over much of Europe under the colours of Nuovo Futurismo, a group of whom he was member from the moment of its conception, but above all due to the fact that, in recent years, he has devised a mode of linguistic expression and an original and culturally motivated iconographic proposal.

With photos of variety of colours, mostly vinyls, a diversity of materials and with vivid chromatich results that neverthless display a certain finely-controlled equilibrium, Abate becomes, I would say, an elliptic narrator, according to my idea of aesthetics, in the sense that he appears to be neither a hermetic nor an explicit fabulist. His temporal narration has synthetic yet completely unchaotic rhythms which require a suitable spatial extention that is both vertical and horizontal. That which could sometimes bring to mind surreal memories rather the trasmutation into Docile Rationality of the (permeating) dynamism of Futurism.

Way ought to be emphasized here is that Abate has understood well that electicism in vogue is one thing, whereas the complex reality we are atually living is quite another and whcich cannot but resolve itself in a projectual-cum-expressive context.