Timeliness is fundamental in determining the fate of a complex event such as that of art, which belongs to the system of economy and culture, as once that favorable moment has passed, everything leaves the time it finds and also the invention, more intelligent becomes sterile.
This happens, precisely, with Lucio Fontana, precisely at the moment in which double-digit quotations, in millions of euros, were recorded on the international market, unimaginable until a short time ago.
Works in black, pink, gold, red, white, yellow, in which all types of his inventive work are represented, sculptures, ceramics, paintings on canvas, in a full of cuts, holes, openings, which he invented, to allow to his formal thought of entering the vertical space on the surface and experimenting a new idea of contamination with time, in his determination of existential breadth, while remaining within a consolidated artistic tradition, essentially tonal, in which the sculptures seem to have been made to implode, with a suction of sinking that leads to the unexpected, to the unforeseen and the paintings are covered by layers of color and then split, torn, with sharp strokes that dictate a fabric of discontinuity.
The painting is forced into a picto-sculpture field, readable as if it were a bas-relief, but this we can consider a secondary aspect, compared to its directionality which is to penetrate into the coordinates of the sublime, which are without measures and without formal balances, which belong to the beauty of which he considers himself outside. The sculptures are worked with a sort of invasive technique, with cracks that split the skin of continuity, as if to want to enter it, to wade into the chaos of an unknown, marking the end of the poetic certainties of a temporality and a spatiality, overcome by new knowledge that imposed the need to break with two-dimensionality, working by discontinuity, by leaps into the void, conceived as an itinerarium to the fourth dimension, that of duration, which is considered the true form of things.
