Riccardo Murelli | Oil On Paper


26.03 | 12.04 2012

The exhibition features twenty-two oil and graphite on paper drawings made ​​between 2009 and 2011. Abstract works, of small and medium format, which anticipate and flank the prevailing artist instinct toward sculpture. A geometric stiffness that changes in form and color tones, according to the architectural boundaries in which it is inserted.

* The constant change that drives us and the world surrounding us has shaped our nervous system in such a way that, through art, it is able to extract a kind of stability from that which is not stable. This stability, as the only consolation for this inevitability, saves us from our fate.

This fate, combined with our extremely social nature, leads us – in every moment of our existence – to what we might call an obsession: the urge to communicate and to extract meaning from all that surrounds us. It is a vain attempt to oppose entropy, to recompose every detail into a perfectly coherent scene with the intent of forcing chaos into a semantic order and harmony.

Riccardo Murelli responds to this human need with introspection.  With the silence of forms that signify nothing, he turns to lines - those lines that are the basic component from which all our visual perception arises to harness his forms inside other forms. The result is an endless abstraction, neither contained nor defined by the frame or edge of the work. The frame of an incision, the perimeters of a sculpture, as well as the conceptual boundaries of an idea, not only delimit what is the work of art, but also delineate all that surrounds it.  They enclose the essence of the work while locking out the essence of infinity within which the work is immersed.
*Ludovica Lumer | Ricomporre l'Infranto ( 2011 )

** How can we combine the dysfunctional waste of Murelli's sculptures with the stiffness implied in Organized opposition of the Dialectic? The solution is quite simple. On one side the dialogue establishes Murelli That is the opposite of architecture with an corbusian architecture. He is not searching for utopic New Babylon. 

We are talking about a best practice from the inherites that the Situationism and from what Lyotard defines grand recit. We are arriving at the second point of the quarrel. Murelli's sculptures are like a constant fighting. 

At first sight you can not notice this but When you approach the sculptures you can catch the permanent deconstruction. Hardly the broken lines included in the arches, point out fields of force costantly tense, unbalanced, run through by flashes and soon after perfectly still. This sense of in-betweenness characterise Murelli's sculptures. The inscription of These Does not only in architecture, sculptures give new spaces but an immediate de-limitation and creation of new ones.

**Marco Enrico Giacomelli | Architetture del Desiderio ( 2007 )