Camillo Gannelli - Armocromie cromatiche nr. 107

Armocromia No. 107 is a border work, of earth and fire. What we see is a material abstract that plays entirely on the contrast between above and below, between sky and flesh. The first thing that strikes isn’t the color, but the surface of the painting. It is a lived-in work, scratched, gouged. In the upper part the artist works by subtraction: layers of beige, greige, burnt ochre, scratched until a texture emerges that recalls a wall peeling from time or a plain beaten by the wind. It is an informal piece close to Burri, almost tactile. You can feel the spatula, the dust, the oxidation. Then there is the fracture. A dark, dense, granular line like cooled lava, like a boundary of scorched earth, that cuts the painting a little past the midpoint. It isn’t a clean line; it’s a scar. Under that scar, the red. Not a decorative red, but a visceral, deep, incandescent red. Vermilion, blood, crushed poppies. It is a vibrant field of color, moved by circular brushstrokes that give the impression of a field in motion, of a liquid and unsettled matter. And here the chromatic miracle happens: five or six small tears of turquoise blue, almost electric. They look like wild, scattered flowers, or fragments of sky fallen into the red earth. That blue is the only cold element in a scorching work, and by complementary contrast makes the red explode. Without that blue, the painting would be dramatic. With that blue, it becomes poetic and full of hope. It’s a landscape of the soul, more than a real landscape. It could be Maremma in summer, with poppies and a sultry, dusty sky. It could be an archaeological memory: ancestral red earth dotted with lapis lazuli fragments. In short, it’s a small, very successful work because it says a lot with very few elements: material, horizon, and a single point of color that saves it all. It’s a work that does not merely decorate but unsettles. It makes you pause a second longer.

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