Francesco Giardinazzo, 3 poeti per i cieli di Enrico, in Luoghi postumi, exhibition
catalogue, Bologna 1997
I think of this painting as a chastely Romanesque reappraisal, where however the seal of Platonism, of the passage from the divine to the human takes place, as Florensky asserted, by osmosis between divine and human, an art of the descent, from strongly teleological time, “a crystal of time in imaginary space.” The posthumous also becomes that which precedes humanity, and dominant nature, the fantastic succession of the seasons that the primordial force of myth places in some will, although an unknowable one. It is a hierarchy of isolation where solitude and tenacità project a narration, a story without actors: this is the sublime paradox of what is posthumous. Skies painted over desolation, over the end of an absolute light in favor of an uncertain moon or of fires that no one watches over and that burn. The architectural details that ought to locate things in time are instead pure geometric forms, eternal forms of the divine mind as Plato imagined them. And all this, gathered each time within the limits of the canvas, seems to oblige us to see them as if they were the precious illuminations of a book of memory that is being lost, that is erased as we read it. A very peculiar painting of ruins, if you like, where it is not the building that is destroyed, but where it is asserted instead that humanity is a constructor of ruins, freezing the image in a bloodless apocalypse, at a disaster where only those creators have vanished and their becoming in time has clotted like the blood of a wound.