OREDARIA gallery continues its exhibition season dedicated to arists that all work around a common theme: space (solo shows by Zorio, Pirri and Egger), here presented by the Roman artist Ivan Barlafante. In me is an exhibition articulated as a totalized unit, that through artwork exhibited in the interior and exterior spaces of the gallery, on its walls and acoustically inside the complex of the exhibition area, invited the visitors to immerge in a both perceptual and conceptual experience, consistent with the artist's particolar poetry.

This series of works is expressed by the vast physical-acoustic installation “Ti amo”, by the sculpture of rocks and light “Cuore Bianco” and by a huge magnet built with technological materials of refraction light entitled “Nel giorno del mio compleanno”, to quote just some of the works and installations.

The title, which recalls intimacy, is the counterbalance and the key to enter a world made of organized forms, where the participation at this “formal recreation” is, in fact, “in me”.

Barlafante has been working since the early '90s and is familiar with operations where the space is used as a “parallel territory”, as in the construction of a light blue map with stars made of steel on a public square of Prague, or the periscope of the submarine made of earth and the giant magnets presented at the exhibition “Contemporary Italian Sculpture” in Sermoneta, Italy.

“In Me” is balanced between the research of  “the pure realizing”, as a personal experience of the artist and the formalization of an artistic language that wants to appear naked, free of ideologies and aiming to communicate from person to person. Inward and outward appearance are the two big polarities that animate “in me”. Barlafante reaches us the research for a language capable of crossing levels of the mind and “physical” manifestations of nature, of subjectivity and objectivity.

A vocation to tell its “being” with a poetry of shapes born by combining play, intuition and reflection. Therefore, no result of his work can be considered definitive, as the process that supports it is important, the process that disputes from science that “golden branch” of the awakening at the presence of nature as an infinite variety.

This is the context in which Barlafante develops a production that, moving from conceptual art it is linked to transversal experiences deriving from Land Art, Fluxus and Arte povera, distillating them into three-dimensional and rhythmic objects.

Barlafante’s oeuvre, characterized by an aesthetics rigour, moves on those primitive paths of knowledge where material is intended as a sensible impulse, where perception and mind blend musically in a language, marking “ideal suspensions”, realized in a clear and usable way.

Andrea Orsini