Bianco chiuso

Large and small white signs, which seeing as they belong to an unknown alphabet point to nothing but themselves, are inscribed in a rectangle that occupies almost the entire canvas, and appear to mimic the surface of a TV screen. The painting is reminiscent of what Perilli and Sanfilippo were doing more explicitly during those years, in addition to other New Figuration artists.
On the verge of full artistic maturity, in 1954 Accardi had focused on the terse dialogue between black and white, possibly influenced by the sharper declinations of Parisian Art Autre which she encountered during this time through Michel Tapié. Soon after, colour triumphed again, especially a fiery and clamant red, often coupled with black. Dating from 1961, Bianco chiuso appears to recall the black-and-white season just past, triggering at the same time that mechanism of optical and perceptive ambiguity which was typical of those years. Hence the ”figure” built from signs and the duality of the chromatic shades appear to oscillate between the foreground and background.