15 luglio / 1 agosto 2010

ascoli piceno - palazzo dei capitani

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The painting of Egidio Maria Egidi has three main features which can be seen only looking at it carefully: rhythm, effect of space and the chromatic naturalism.
The first one aims to show the movement, the second one gives the dynamic volume to the rhythm and the third one excites the memories of those nearby.
It is obvious that such considerations come out from a strong belief: although placing his art within the polychromatic environment, Egidio Maria is the author of an art which loves the nature, the landscape, the primordial atmospheres, the seas, the forests, the stones.
It is the non-figurative pantheism of Jean Paul Riopelle, translated in a singular way with short and vibrating chromatic scanning.
It can also be likely that Egidio Maria springs out a spiritual energy as intended by Hans Hartung: a strength which looks for reality in all its inaccessible depths, a world parallel to the one where everybody lives, invisible yet alive.

Cesare Caselli



Egidio Maria Egidi is an emblematic example of the split (perhaps I should say "division") between the abstract and the informal.
This is so by virtue of his concept of "polychromatic sensationalism", a concept which fascina­tes and moves through the astuteness of his premises and intelligence of his references.
This is anything but a proposal for the rejec­tion of the image: the sensationalism of Egidi is itself an image (in terms, that is of "presen­tation", not "representation"), rich, pyrotech­nic and sumptuous. Thus, the stereotype of Egidi’s abstractionism becomes more precise and the informal/emotive element can take shape; in Egidi, that is, real intelligence has a much more pre-eminent role than unbridled emotion.
Today, in fact, it is becoming more and more clear that whoever rejects the "mu­seified" image can still save himself (extremely well indeed) without "leaving for Cythera".

Franco Tralli  


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