Copying works of art is a critical exercise that helps to train the eye and to make thoughts concrete. As an art critic and historian, Elio Grazioli argues for this in the most effective way: by putting it into practice. In fact, this “album” gathers together over 50 drawings by him, swift sketches executed with improvised materials during lockdown, using an unusual technique: superimposition.
Two, or sometimes three, works of art, reproduced one on top of the other, form a new image, a canvas for the endless play of cross-references, where the protagonists are artists who are similar or very different, even to the point of clashing. The intuitive graphic intertwinings trigger new possibilities of interpreting iconic modern and contemporary artworks and artists.
So Munch’s silent Scream suddenly seems as threatening and unsettling as a precariously balanced Richard Serra sculpture, and the gaze of one of Gauguin’s Polynesian female nudes evokes the ambiguous mix of magic, eroticism and death in the self-portrait of Nan Goldin with a black eye. We are even witness to a virtual head-to-head between Warhol and Matisse regarding the concept of repetition.
While the reader’s eye and memory are hard put to recognize the original pieces, the author composes an alternative art history made of unimagined alchemies and short circuits, capable of revealing another dimension of vision and unexpected meanings.