Presenza e memoria

Antonio del Guercio

On the catalogue “Presenze e Memoria”, Ducale Palace, Saint Cesario, Lecce, 1981

Il sogno di Costantino, 1976 tele imbottite (particolare)

Il sogno di Costantino, 1976
tele imbottite (particolare)

The installations of Ettore Consolazione have come a considerable distance from the various experiences at the beginning of the period of the Poor art which emphasized, above all on the choice of materials reliable to their psycho anthropological. After all, this is not the place to propose a debate of such an experience and ensuing results. I am rather interested to emphasize that sooner Ettore Consolazione was reaching to various conclusions. The weak condition of the art within our contemporary world, immutable beyond the specificity of the art work, unduly confused with the so called separation of the art from life. With the prominence of the canvass, historical and receptacle of light, Ettore Consolazione was focusing and exalting the strong element of the art: a stereo metric plasticity; a formal qualification of the space and above all the meeting between materials and light, and the eruption of colors. An instrument that he made available and polished in the elaboration of his own poetic space. Ghostly transposition texts formally radical in the history of art, il Sogno di Costantino, elaborated by Piero della Francesca until ironic memory of chivalry world in which a childlike wonder makes counterpoint to the un easy conscience in the distance that separates us from the lost party. Along this path, l’installazione or rather images and objects of Ettore Consolazione ha transformed itself from systems firmly equilibrated between the longing of the fresh perspective and metaphysical suspension of time – a mixture of swings, flowers, cusps and hints of motion as if the joint existential pressure of the wonders and anxiety had imposed over the non denied clarity on formal scanning as a more bushy germination of desired object. A desire that imposes on the material a soft non effective preexistence of a sought after form in that ideal point in which painting and sculpture start their reciprocal differentiation in the space effective from the common interrogation on time.