The art of Francesco Nardi Page 4.

"South Street" tecnica mista cm 100x120 Opera selezionata al V Concorso di Pittura "Cittò di Fondi" presidente della Commissione: Maurizio Calvesi Commento all'opera: Di impronta materica, il testo si spende tra spirito di geometria, che taglia in setti e colora il piano della rappresentazione, e torti avvolgimenti del caos, che disegnano un reticolo come di glomeruli, di graffitismi quasi di stile etnico. Il corpo della città esprime così la sua dialettica vitale: un aerofotogramma per concorso di idioletti e socioletti, per compenetrazione astratta di pulsioni desideranti e di perimetrazioni ordinate dello spazio. Marcello Carlino

It is well known, proved by irrefutable evidence, that expressionism was a very clear manifestation and a

developing exposure od the character’s unquiet tension, just that branch of the experiences tied to the

“Blaue Reiter” group, and wonted a rather felt the irrepressible necessity to point out such tension and the

character’s desires, his innermost recesses, his eagerness to get free somewhere to such extent that the

figurative plot and the iconic thematization of paintig were suffered as a coercition. It is also certain that the

abstract expressionism of the American area put itself, after same decades, along the same line connecting

the first to the second avant-garde, and crosses then as an action painting that should host the authenticity

of the gesture, non yet conditioned and indeed completely loath to the reality principle governing on one

dimension the civilisation we live in.

The painting work of Francesco Nardi has taken shape and has coherently gone on, for years, in a territory

having such culture and poetical co-ordinates, a territory presenting experimentation and research and

requiring the use of alternative techniques and materials. The principle phenomenologies, the major

constant factors of Francesco Nardi

paintings are:

he matterness of cardboard or sacks

through which, in harmony with the

choices of a “poor” art, it is possible to

reuse the daily life and objects and to

knock down the privileges usually

assigned to the aesthetic production as

a separate space or something else,

and therefore sacral in itself, while the

proto-avant-garde practice of collage is

renewed;

The thick chromatic density that

presumes non only the obsessively

nihilistic and proactively aniconic

stubbornness of the hand on the

canvas, but also the aimless lightness

of play, the deepest of spirit of spirit’s

human activities;

The tendentially primary colours, as it

was especially among the fauves , and however, quite regularly, colours of “pastel shade”, sign a need of

naturality and immediacy that painting is called to guarantee and preserve;

The loss of space organization centre so that the de-localization overwhelms every orderly time sequence

that can be obtained from the image flow and increases the distance of the representation of reality we use

make and use to certify its objectivity. Francesco Nardi movers pendularly between chaos and geometry, as it was always appened in

expressionism and its surroundings; mirrored on the opposite of the serial score, or – symbolically – the

churl, the fragments, the colour surplus corresponding to the line arranged in parallel bundless or closed in

rhomboidal shapes. Moreover, Nardi’s painting, by exploring chaos as an undistinguished primordial place

and trying to solve and rearrange it geometrically, gets tense and exhausts itself in a journey that

unintensionally, sithout a break, changes it direction: therefore the centrifugal and centripetal dynamics

beating the alternating rhythm of such works, so that the scene is perpetually turned as time towords an

indeterminable point standing our, beyond and above, as in the unlimited space of the universe, or at times

towards a point standing inside, maybe in the space – unlimited too- representing the ego’s interiority.

So it research and knowledge travel to show itself – with beating eagerness and even subborness – in

Francesco Nardi’s works. Here is the force of those works or the sense of necessity they show at first sign.

In short, here is – it seems to me – their truth. Marcello Carlino