A quick painting, instant, gestural, which downloads the media - often paper - emotional and psychic energy that thrives sudden ignitions and agree that completion of the work is also a certain element of randomness: "My painting," says the Salvadore , "for a long time it was only water and pigment. The water being fluid is not completely controllable and allows me to step aside, so that it proves that the form itself, as if my hands were sensors, antennas. " Moreover, it is a painting that seems to find satisfaction in the use of a single medium, and lives as opposed to a multiplicity of partial interventions made - and indeed one might say vitally experienced - with different tools and materials (ink, acrylic, pastels, watercolors, heavy painting house painting, and more). Well, all this is very functional expression of a drama that works carry with them almost physically: the signs become entangled writhing, the brushstrokes are gathering in heavy lumps, the same pastels and watercolors - which tradition has given us such average "nice" - produce powerful and nervous spots. As for the video, it is no longer, of dealing with "the painting as finished work, as a goal," but rather with "the video as evidence of an action, a voltage is applied," because the whole process in which it is expressed ( "the act of signs itself, the formation of a sign and its cancellation that become work") allows the artist to place - through the narrative that comes - "closer to life, the truth of things." On the other hand, however, the sense of fragmentation that is inevitably linked to the technique of stop-motion brings us back, once again, to an intense interpretation of the world, that is, presenting - in a sense - which counterpart of the images in some ways almost "svaporate" and spiritual painting: a restless fragmentation that is characteristic of our times, and in the works of Antonella Salvadore permeates in all its tragic and painful power. "
Paolo Sacchini
