Exhibition: Enrico Ingenito – The colours of light
- 4 March 2016
- Sara Cavagnari
- No Comments
open day: monday – sunday, close monday and sunday morning
10:00 – 13:00, 15:30 – 19:30
Enrico Ingenito was born in Genoa November 4, 1978.
He graduated in painting at the Academy of Fine Arts in Bologna in February 2004 and completed his studies specializing in Visual Arts and Performing Arts at the Academy of Fine Arts in Linguistics in Genoa in 2006.
Since 2005 he lives in Genoa, where he carries out his artistic activity, ranging from the use of visual arts ( painting, photography and video) to the collaboration as a performer , through which it addresses and develops the theme of the body.
In particular, from 2005 to 2007 or so, is participating in a collaborative project between the arts along with the Cultural Association “Corpi in Danza “, within the eagles has completed the construction of two videos: “Post Chaos ” and ” Sharing” .
From participation in the collective ” Urbanamente ” ( Osemont Gallery, June 2007 ) and subsequently by his solo exhibition ” Frames” in April 2009, deals with the technique of oil on canvas, recreating the theme of urban landscape moving images, extracted from photographs in various cities, and faces from the dreamy and elusive character immersed in the artificial lights.
He had the opportunity to participate in artist residencies and collective and personal exhibitions in Italy and abroad.
He currently lives and works in Genoa.
The Ingenito’s painting is so rich of cultural references that would ask for a long analysis. Not to bore the reader, I will limit myself to some observations only.
The first thing that the eye notices is his relationship with photography. It has been accepted in the reign of the picturesque art, which has been excluded for two centuries. If now the pittoric and photographic technique appear on exchanged basis in the art productions, We shouldn’t misunderstand to think that the Ingenito’s works are pictorially reworked photographs or photograph prints on canvas. The works technically are paintings that only establish a dialectical relationship with photography.
Viewing it, they could recall old prints going back to ‘800, that time and bad fixing has made them vanish, giving them features that we not originally foreseen. They can also recall the landscapes of European “pittorealisti” photographers like Einrich Kühn, Robert Demachy, Domenico Peretti Griva, in which soft surroundings try to call impressionist painting.
What Ingenito wanted to do was not to paint what was already done but to add personal creativity, starting from his visual knowledge.
We can see that photography is starting point of his work, in the featured lines in the architecture.
His practice way turns the paintings from ‘800 style, in which the landscapes was portrayed directly from alive, “en plein air”, and elaborated in the studio.
The only link with reality comes from photographs but, in the paintings, the photographic realism appears transformed, through lens that gives us an emotional interpretations instead of optical impression. We generally see what we know, and what we ignore is often what escapes our perception. The photography allows us to see instant of our experience also when it does not exist anymore and allows us to perceive what escaped away from us in the past. In that sense, the use of photography for Ingenito is like madeleine of Proust because it opens memories.
Therefore on the canvas, the painter does not stick the photographic images but deposits the state of his soul and unknown contents that like memories with passing of time become always short-lived and over lap with other memories.
If we observe more recent Ingenito’s work for example “Pineta” we can perceive visual sights that over lap in which the transparent imagine appears over lapping another chromatic shade.
Also this feature, apparently can recall the results of frame exposed twice, but in the actual mechanism of Ingenito this choice expresses relationship between what you see and you interpret, realized by Wittgenstein.
On the same line we notice the use of colour where in his paintings is never realistic. The colour layout in its pure tone assumes value of the chromatic musical scale to its progressive intense its anti-naturalistic dominance becomes symbol to express swaying state of mood.
The union between the recognized forms and evocative shades of colours transforms Enrico’s canvas in a space in which the viewer lets himself to absorb.