THE PROJECTS

The studies and paper sketches that the two artists made to verify the imagined installations in the real urban context can be defined as "finished works". With different languages, the artists have created drawings that tell their own planning in dealing with the Cannobio places. They highlight the reflection put in place to create an exhibition itinerary with its own unity and its own narration within a receptive settlement; but they also underline the different expressive languages ‚Äč‚Äčthat converge towards the same theme inscribed in the title.

Corrado Bonomi's drawings are made with pastels, India ink and 3D marker. More complex, they aim at the figural description of the place in which to intervene. The colors are spread with realistic transitions from one to the other and the volumes of the architectural elements are highlighted with dark strokes. The installed works are drawn with color that becomes a polychrome plastic filament.

Those by Gianni Cella are made in line, in India ink, with a direct and loose line, sometimes continuous. The very synthetic faces and figures are enlivened by spots of monochrome watercolor, not perfectly adherent to the outline but arranged almost in a contrapuntal way. Their linearity reflects the linearity and plasticity of the sculptures.

Dwelling, as examples, only on some of them we can see how the Antico Lavatoio for Bonomi is represented in its architectural entirety rendered in shades of dark gray and brown. The reality of the clouds under the truss is captured, therefore the dreams bearing the sleeping faces but at the same time emerging from the waters of the tub. For Cella, the highlights of the installation are the volume of the tub rendered in perspective and the clouds just hinted at and then the many faces just enlivened with red and blue notches.

The depiction of Bonomi in the Gardens of Piazza Vittorio Emanuele, in front of the Palazzo del Comune, gives off the sensation of a garden of a thousand greens in which the white Aeroplanoni are inserted that can be guessed made with giant notebook sheets. For Cella the trees and flowerbeds are patches of green that play with the red sculpture of the Marx Brothers placed in a hieratic way in front of a building that appears to be drawn in a very simple and more evocative than depicting way.

The drawing, the sketch, the project are for an artist the way to give body, quickly, to an idea, to an imagined form. They are the direct emanation of one's own poetics and expressive urgencies, therefore an aspect of creativity that we could define as "very personal". But even in this case, in the end, the comparison between two different germinalities becomes a way to stimulate an open dialogue between visions that want to meet and produce new ones.

Fabrizio Parachini