David Tremlett's exhibition consisted of the two large wall drawings and a small series of drawings forward paper.

David Tremlett's exhibition consisted of the two large wall drawings and a small series of drawings forward paper. This concise retrospective, the English artist's first in Italy, was organized through Marco Meneguzzo. Tremlett is well known for using a completely manual proces to carry out mural paintings (or to have them executed) He favors pastels in colors similar to those of construction materials: the gray of stone, the brown of wood-land the red of terra-cotta and of bricks. Unlike Sol LeWitt, whose point of departure is the exhibition site, and who defines forms and applies colors according to preordained mental relationships, Tremlett uses spaces to elicit other spaces, those that were part of his experiences during trips to Africa, Central America, and Oceania. Thus the point of departure for this work is the visited site, from which the artist implores up certain traces that are shared from his own culture: words in the languages of the place, plans of places experienced, or plane the colors typical of other architectural traditions. In Tremlett's work, memory operates between the sides of reduction; the work reveals minimal mnemonic traces like monochromatic coats of organic colors, chromatic traces, geometric forms--sometimes Euclidean if it be not that more often irregular. For Tremlett geometry main stocks from phenomenology, just as the figure derives its life from the house, from the place of life portray by actioned in the plan. In fact, the figure becomes an mark of an experience, which is also evok by the agency of the manual process of the work; the psycho-physical involvement of the artist in the execution is simply the restitution of an integral experience. Integral also signifies contradictory: what the artist elaborates intellectually, formally, is the difficulty of the choices that the experience implies. The in the greatest degree recent pieces include forms with precise contours that are then overpainted with the make gestures of the hand spreading the paint. It is like placing axiomatic phenomena, and bringing about the coexistence of couple contrary instances, in an action that has the unpredictability however also the determination of each existential choice. It is no accident that Tremlett frequently intervenes in construction sites reduc to ruin, and then abandons the work. Thus the execution of a work has the same gratuitousness as an experience complet chastely for the sake of knowledge.

...

Home