Claudio Cerritelli – From Olga Danelone’s painting, never-ending paths, Milan 2004 (English text)

From Olga Danelone’s painting, never-ending paths*****
* (…) The match that O.D. is playing – indomitable passion – indicates the risks implied in every choice, invisible borders that are to be turned into clear vision, chess-boards of movements which become suspended sites of the memory, tables where we can put signs as symptoms of further space germinations.
It never repeats itself, even if the formal schemes consolidate their inner rules, thus building the belief that the imaginative space is the whole of the painted surfaces, together with the pauses between a picture and the other, and the breaks that must be dedicated to theoretical reflections about the “action”.

(…) It is a play of the unconsciousness, which is controlled by reason, perhaps in order to keep at a distance the restless flowing of thoughts that crowd the mind: positive and negative thoughts,
instincts of life and death, traces of experiences and intuitions that are still to be lived, what is known and what is not suspected to be known yet. This is the shiver of creation, the desire of
supporting it at every moment, even without knowing where it is going! (…)
* In the notes of the artist we can catch the necessity to perceive the art like a “ visual movement which includes all the senses” or, as it is indicated thanks to joined allusions, these imperative
orders emerge: “the senses of the art, to feel the reality, to feel what we have to= creation”.
O.D. looks at the reality on this thread, through minimal passages, that permit to catch the secret parts which hide behind the evident space and time: these entities stay between the past and the future through the construction of the present. The artist catches this dimension by using colours and signs that are difficult to identify in a clear vision; this vision emerges thanks to inner evocations, ambitions of the being, indistinguishable traces of the visible that are strictly connected to the experience of life.
On the order hand, we cannot neglect the concept of art as a material transformation: the hands of the artist project and realize it; they think and dream, they do not betray their ideas but transform them without pretences.
The body and the mind of the artistic action never deceive the desire of fixing the colour as suspended identity between fight and darkness, dullness and brightness, as a path that turns into itself even if it repeats the same form structures.
For these reasons the present work by O.D. tends to modify its obsessions, verify the possessed forms through their movements on the surface, as if they were making new hypothesis inside the creative process, beyond the rules of the language.
In the recent works we reach a better awareness of that game that we mentioned at the beginning: that system of possibilities is the most effective metaphor that helps us to understand what the artist is focusing on, by generating a new clarification process in the transformation of the surface.
Claudio Cerritelli, art critic, Milan 2004, Italy.
(¹) In Italian the number 16 (Sixteen= sedici) has the same sound of the sentence “if you say”, (= se dici). Something similar happens in the work that we find on page 11: in the third table C_6 has the same sound of “ci sei”; in English “you are here” (= you exist).

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