Analisi

On what we can perceive as a horizontal plane – albeit a sliding and anti-perspectival one – are a line of streaking, agitated ectoplasms, by now unrecognizable, timid witnesses of a reality transfigured into organic pulsions: greys, blacks, dirty whites, earth colours saturate those poor mangled bodies, offered up as one would a still life of smashed fruit.
Romagnoni chooses the title “Analysis” for this acerbic work. The image testifies to the unease he feels at the prospect of aligning himself on one or the other side of the split in the artistic world (Italian and French in particular), into two main branches: realist and abstract, in conflict with one another. For Romagnoni, instead, painting can only be “Analysis”, forever removed from reassuring ideological certainties. Particularly in the transition he made at the end of the decade, when his decisive encounter with Gorky and De Kooning at two exhibitions in Milan led him away from the afflicted images of his early formation, when he was still linked to the atmosphere of the “Corrente” group, and when he had not yet started on the photographic collages that would characterize his final years, leading him back to an albeit problematic adherence to reality.