from the catalog

A-lad(d) inSane

And someone will enliven us like Marylin Monroe in Andy’s pop art style portraits

Bruno Munari

In the evanescent artistic postmodern survey, full of unrealistic and epidermic experiments supported by shabby demagogues who were a prey to capitalistic cavings, Andy embodies the visionary Dionisiac archetype who in the balance between the eternal and the transient exalts fleeting impossible dreams.

Blessed with a changeable eclectic inspiration uprooted by perishable conceptualist ties and pervaded with an indomitable curiosity, he founds his research into painting, music, theatre with frequent occasional forays into advertising and videotape.His kaleidoscopic works stretch on heterogeneous surfaces according to the principle of fusion of matter: the fluorescent mix of boards, manikins, wasps, furnishings, textures up to be grafted on audience unconscious, suddenly engulfed by a complete exciting bulimic enjoyment.

The images of dream, metaphysical reminescences of a past never appeased, mix to a stupefied reality, inebriated with shameful fetishes: in excellent architectures sometimes hellenizing, imperishable music and movie stars stand out - Marlene Dietrich, Audrey Hepburn, Michael Jackson, Jim Morrison, Kiss -, childhood cartoons – Lady Oscar, the Barbapapà, Mickey Mouse – and lacking in will-power flits-Belen, Paris Hilton - .

Andy is a strolling player, a tumbler who skilful moves forward a steel thread hanging in space.

The bunking of romantic image of maker-artist, dear to expressionist , and the raising of consumerism with its corollary of despotic standardization, makes him an acquainted actor and a willing of contemporary alienation.

The post modern idols are recalled with longing, sometimes moked by the approching with the ancestrals, sacred signs of Renaissance art: Maria receives the Archangel, she is seated in front of her laptop, the Tre Grazie dance with Betty Boop and Puffetta, a putto of Michelangelo pries penitently into Merylin’s face…..

The result is an hallucinatory and psychedelic vision dimly hysteric and edonistic ritual in Haring, Warhol, Ernst and Munari’s ghosts appear.

A fluorescent Bowie or Goldrake create tensions that cause restlessness, expectations raise themselves and than they fall down again in a vertical space.

It’s like a powerful throb against the walls that shout a schizophrenic, feverish illusion.

With their iridescent and hyperbolical paints, Andy’s pieces lead us in an oneiric, light-hearted universe in which we breath the scents of Basquiat’s New York and we walk solemnly on Kraftwerk’s notes, squeezing the hand of sly Pink Panter.

A subverting charge claims the sensational nature’s annihilation by the machine and the wreckages that man has created for himself and he feels they are able to impose one’s will: risky impulses, material interests, ephemeral idols produced by the frantic development of mast media.

Visionaries like Andy belong to a special, confused order in which there are different and inegual talents but all are provided of a prophetic power that sponges on human

fantasy.

For these artists the formal study, the academic technique, are a starting point necessary to transfigure the contingency, to alternates its light, proportions and consistency.

As it isn’t a simple mimesis, a flat transposition of empirical dimension, but a new view of reality, that gives to substance an amazing liveliness.

Between an haunted dreamer and a sardonic mocker of collective vanitas, Andy manages in an elastic area in which every wandering shape can assume an unexpected and hidden meaning.

His vision is chromatic and dynamic: it increases the possibilities of exchanges and penetration, it moves and urges the mind.

We can consider his icons like the remains of childhood that we recollect with love, or rather as the emblems of the contemporary intellectual decline, every interpretation is allowed.

But we are inexorably overwhelmed by an implacable pop fever.

Alessandra Troncana