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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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