Ljubljana

Ljubljana 2008

The exhibition at the Italian Cultural Institute in Ljubljana summarizes the research that, over the last few years, has established the well-defined and easily recognizable contours of the artistic personality of Luca Suelzu. This is a plus, especially when considering that in the chaos that characterized Italian figurative art from the 1980s, in his development up to the present, Suelzu framed a series of creative tensions that in other instances had toned down individuality. In his work, the world of the mass media – the mass of signals that passes before our eyes on television, in cinema and advertising – comes alive with new meanings, as the artist avoids the stale critique of the banality of everyday life, to find, precisely in this everyday reality, that formal inspiration which in his paintings is realized in modules of spatial division, in the rhythm of the pulse of ordinary life. In so doing, Suelzu brings out the structure and inner geometric shape of things, which are as fickle as the varying viewpoints of a given portion of existence. Thus a sequence of chairs, standing or knocked over, suggests an arrangement of lines that forms an interplay of multiple combinations in space. In the objects and in the situations that accommodate them, the modular rhythm that is enhanced by the touch of light, he recovers the real factor that determines the “presence” of things. The scene, on the other hand, actually celebrates absénce, since the chairs are empty and can provocatively recall a break between one sitting and the next, occasions that define the occupancy that they await while silence reigns, a deep silence, that would appear unreal if these paintings were not marked by a hyper-realistic affiliation. In Luca Suelzu’s compositional matrix there is also a knowledge of photography, of which he uses only the framing method; from this, he moves within a poem in which the bars, the backs of the small armchairs, the rows of overturned chairs, the helmet, are nothing but signals that suggest that the essence of man can have meaning even when it seems that it is man’s exclusion, from the scene that is being depicted.
Enzo Santese
Luca Suelzu lives and works in Gorizia. He paints in oils on canvas and on panels. His works are recognizable for the detailed representation and the photographic realism of the images.