Nunzio – Preesman

Nunzio – Preesman

Nunzio – Preesman

Giorgio Persano

Via Principessa Clotilde 45


June 27 – September 30, 2005


Two rural dwellings were the source from which the two wooden constructions making up the artwork have been obtained. Nunzio (Cagnano Amiterno, Aquila 1954, now living and working in Rome) has taken the two existing and fully-functional buildings and transformed the way their space is perceived, without however modifying the essential characteristics of the dwellings. The final effect is of a continuous space with simple, though fundamental, elements. The first room has been opened up with a wall removed, revealing a burnt internal space with a back wall carved with a curved linear design. The walls of the second room, accessed through a door, have been stripped raw, whilst a series of burnt wooden boards jut out from a window, and a rectangle dug into the wood points to a hypothetical escape route. The themes, repeatedly present in the artist’s works, are here intertwined with elements which are familiar yet alien, inviting and distant at one and the same time. Two carved stakes stand as silent witnesses to this mysterious metamorphosis.


The work of Avery Preesman (Santa Maria, Curaçao 1968, now living and working in Amsterdam) represents the constant quest for position and orientation within pictorial space. Within this context, separation and stratification would appear to be the guiding force behind the hand of the artist, whose brushstrokes reveal an ever-present drive towards delimitation and direction. It is from this drive that the staketsel motif takes shape, those initial parameters which lie beneath the surface of the works, upon which other motifs are then rooted. From this process of superimposition emerge the “wall paintings” in which, as can be seen in the two panels comprising “Untitled (Last Silver Painting in Prussian Blue)”, T-based lines and motifs freely dangle from the canvas, seemingly to measure the space that they occupy. Despite the density of the pieces, the works on display in the exhibition stand open to our gaze, permitting us to see through and identify the single layers.