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Now that painting wakes up to herself and to her images and through the oniric and primary stuttering of the so-called "trans-avantgarde"- one wonders how and where to place these light and airy "shadows" by Antonio Papasso, this lying down of cotton woolls moved by the breath of restlessness, stirred up by the last silence, by the tension of the unknown's mysterious allusivities? It would be easy, I think, as an immediate correlation, the recovering of the condition of poetry, the noise of the growing of the grass "happy where man does not tread upon", Kandinsky's interior necessity or Klee's absolute identities, not material or psychological, and, from further afar, the classic morality of Piero (della Francesca) measures. And one might even settle for the fundamental definition of abstractism, according to which art does not reproduce the visible, but yelds the visible. And yet, it is all and nothing for this Tuscan artist: meaning that the visible is made such by art-this seems legitimately mentionable. Reticula, textures, pictorial scales meet the line, the point, the sign, the spatial element, the painting's structure and with its very supported form. These all change into graphics and concepts exactly in the meaning of the duration conceived by Klee: "A point becoming movement and line requires time". And together they change into essence in the Husserl phenomenological meaning, that is, not motionless instances, abstract from the concrete flowing of time, but site of existential reflexion. In a few words, Papasso's shadows witness to the eye that condition of primeval life where phenomenology just continuously returns: the flowing of consciousness.
Germano Beringheli
