Poetry of shadows
Shadows have been fascinating Diatto for a long time. From the eighties on, he started feeling and responding to the personal need to simulate shadows on canvas.
At the beginning of his work the shadow is a mellow one, just outlined, merely suggested. It underlines forms, it moves them from the background and leaves them floating in the space. With the transition to Diatto’s “ingenuous” period, the shadow becomes sharper and more and more geometric, let’s say more “ingenuous” itself.
During the last ten years, the realization of this need led Diatto to approach Tom Wesselmann’s teachings, Roger W. Sperry’s studies and Betty Edward’s theories. All these ideas stimulated, encouraged and supported him in his own research and pushed him to develop his skill to emphasize through his works the intuitive perception of contrast between shape and shadow, and between fullness and emptiness.
Cutting out the pictorial form is a natural evolution of this path, the answer to the need of bringing the form out of the two-dimensions of the canvas and to provide the pictorial fiction with a dignity tied to reality.
By cutting into the space Diatto creates a shadow that is clear, sharp, real, that is not only the shadow of the object, but also the shadow of the story: a shadow which is another story in itself. From this perspective, the shadow becomes to Diatto more important than the cut itself, and the cut becomes in a certain way functional to the shadow that it casts.
In the end, emphasizing the shadow is the answer to another call: the need of representing the dreams that anyone pursues, the hopes that we all nourish.
There is the little man who captures the moon and the stars and there is the dreamer who loves his mermaid. And there is the overall shape that allows us to capture the fleeting shadow so that it can keep on existing for a long time, evolving and changing in front of us, in front of our eyes.
Raffaella Gallo, 2012
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