Francesco De Prezzo’s fascination and insight into the concepts of time and space provide a distinct conceptual foundation for his installation and performance works. His paintings, art installations and photos deal with the theme of border crossing and the subsequent creation of new thought and existences. The tactile and demonstrative quality of these explorations facilitates the comprehension of both physical and internal perception, where personal intuition and external context combine to create a new sense of awareness.
De Prezzo’s explanation of the ‘bittersweet’ threshold, that which falls between pleasure and pain, is central to his work. It is defined as a spatial condition, difficult to rationalise, in which mental satisfaction coincides with the pain caused by memories and principles of struggle. The combination of opposing concepts enables a gratification yet also engages with psychological undertones and engrosses the psyche. His work perfectly exemplifies the MTArt vision, where a strong underlying concept supports a conceptually and technically innovative enterprise.
His most recent installations denote a return to a gestural approach to materials, typical to his early works. The manipulation of various textiles soaked in plaster creates a direct translation of the pictorial into the plastic. With this method the materials are able to keep their expressive freshness whilst being frozen, via plaster solidification, into solid entities. Visual stimuli are thus transcribed not only in the bi-dimensional, as on canvas, but also in the tridimensional, as space defining structures.
_Marine Tanguy Contemporary art london,
“More or less all of my works are based on the concept of existence and identity.
I paint in oils from real life, on pieces of wood and fabric that I have in my studio. I spend hours reproducing them on canvas, just how they appear in front of me, then I nullify one part of the painting with white paint, thus…like a good masochist. What I mean to say is that: I spend a lot of time creating and little time overwriting but despite this I persist in wanting to erase forms.
I like thinking that under the white parts everything I painted still exists… and, that one day, someone discounting one of my works will find the underling part beneath.
For installations and photos I put forward images that similarly reflect on the fact of “existing”, of occupying a space. They are very humble and simple structures, even a bunch of planks of wood, indeed a sheet in the wind is an object that manifests its presence…I find that working with simple objects renders the work much more poetic.
The images are strong in their fragility, unstable entities that confront reality and therefore measure its existence. Thus I believe that my installation work is a continuous attempt to measure the existence of certain presences.”
” Art” is a big problem, there is no absolute answer, absolute is the research and its metaphysical sense, art is the set of poetic gestures and attempts to push always more ‘forward a conscience common… “