• Alessandro Ceresoli

For his first show at Francesca Minini, Alessandro Ceresoli turns the space into a mysterious and fascinating underground world. Subsoil in its real and fanciful character represents the starting point of Ceresoli’s big drawings as well as the main theme of the whole exhibition.

Ceresoli creates an organic project where painting, installation and sculpture melt into a scenery with an evocative and suspended aura. Visitors at the entrance are welcomed by a fizzy water-like noise. The space is veiled by mystery and suspense, it’s moulded by the sound and by three long imminent polystyrene pipes that look as if they had no end.

The black paintings on the walls amplify this feeling with their net of signs, of overlapping tracks that can be disclosed little by little. Ceresoli’s paintings tend towards monochromy and investigate the expressive potential of black colour, its shades and its iridescent effects. Reduction of shapes is a consequence of gesture stratification, of an act that is being repeated in a ritual way.
The artist takes inspiration from a hidden, archaic reality. He is interested in materials and their possible alterations, for example in the pigment of the drawings, in the polystyrene of the sculptures or in a solution of water, citric acid and baking soda to create continuous effervescence.
In the second room Ceresoli puts a big tub containing this “boiling” liquid that generates a sound that is wafted over the whole space thanks to the pipes amplification.
A polystyrene sculpture screens in part the wide glass windows of the gallery, in a dialogue with the few distinguishable shafts of light. This work attests the artist’s focus on materials and their expressive potential: polystyrene is turned into a precious relief through a painstaking carving. The installation is strongly dependent on the particular site and has been conceived as a work in continuous transformation. It will develop, change or expire following the artist’s intentions.