MILAN.- The A arte Invernizzi gallery opened a solo exhibition by Riccardo De Marchi under the title ¥llai Ñpa… (other holes).

Riccardo De Marchi is presenting his most recent works in a new exhibition installation specially created for the gallery space. By using the Greek term Ñp» - which can be translated as “hole“ or “opening“, but also as “sight“ or “eye socket“ - the title of the exhibition conveys the idea of vision “through“ a hole, or holes. In his works, as in the case of 12 pagine [12 Pages] and 9 pagine [9 Pages], on display in the first room on the upper floor, the artist perforates the material to create a continuous contrast between surface and volume, presence and absence. The perforation-script shows the traces of its passing in a journey that is both mental and metaphorical, as well as physical. De Marchi repeatedly brings to bear different ways of seeing, partly depending on the material used, as we see in the installation in the second room on the upper floor. Here, some steel works in the form of sheets rolled on themselves are placed on the ground.

The artist‘s line of investigation, in which visual features emerge from carefully controlled and repeated gestures that nevertheless always lead to new results and countless new ways of seeing, continues on the lower floor of the gallery. Here the holes bring to life surfaces in aluminium, plexiglas, steel, and polyethylene, creating works such as the Senza titolo [Untitled] (2019) and ...Attraverso... [...Through...] (2018). The spatial and material consistency of his art is even more evident in works such as Muro [Wall] (2019) and Nessun dove [Nowhere] (2019), in which a juxtaposition of different elements placed next to each other, as in the case of the “bricks“, or on top of each other, alternating sheets of plexiglas with mirror-finish stainless steel, intensify our perception of a space filled with different volumes of solids and voids, giving the image concrete form in a vision of even greater diversity.

On the occasion of the exhibition a bilingual volume has been published with reproductions of the works on display, an introductory essay by Francesca Pola, and updated bio-bibliographical notes.