1 ottobre 2010
" Cosmic visions in pictorial form "
by Claudio Cerritelli

The revolution of imagery instigated by the painters of the Spatialist movement lies at the foundation of Renzo Bergamo’s creative credo and constitutes the main constant of his artistic enquiry, a ceaseless quest to create a space of boundless dynamism through a pictorial process that invariably displaces the horizon toward the infinite.
It is inevitable that every perceptual renovation of pictorial space in 20th-century painting has to come to terms with the basic premises of Futurist dynamism. Indeed, when rendering the interpenetration of object and environment, there is no better strategy than that of painterly signs influenced by inexorable vortices, by fluctuating colors that resemble iridescent luminescences, by mechanical movements whose overlappings seem caused by magnetic flux.
The artists committed to this challenge generate similar plastic-pictorial results, particularly in cases where the eagerness to pursue what is described in the 4th Spatialist manifesto (1951) as “that vision of universal matter where the knowledge and intuition of science, philosophy and art have nourished the human spirit” is especially strong.
The art of Renzo Bergamo established a direct connection to these principles when, in the early ‘70s, he began to investigate the possibilities of color and painterly signs in translating the dynamism of total space through intermittent rhythms, expanded sonorities and luminous mutations that range from the perception of the terrestrial depths toward infinite cosmic adventures, his thought aimed beyond the boundaries of the visible, past the certainties of representation.
Moreover, the definition of “cosmic abstraction” that is given to the artist’s many painterly and chromatic experiments originate from the conviction that any art worthy of its own time must be able to dialogue with science, transforming the intuitions of analytical thought into the specificity of visual fantasy.
For Renzo Bergamo this does not mean accepting or adapting to a passive relationship with scientific influences, the the ability to develop coinciding visions in an esthetic way, always maintaining the graphic-pictorial language at the center of the creative process.
Taking on the grammar of abstraction is useful for treating form as a field of statically charged perceptual shocks in the process of becoming, an investigation of the genetic forces of space, a continual interrogation of the processes of fracturing of a harmonic whole.
Through various phases of enquiry, which go back and forth from the figural to the abstract, the artist expresses a strong creative tension that achieves its most original results when it offers the invisible fibers of matter to the viewer’s gaze, complex webs of elusive lines, the instantaneous velocities of intuitive thought, the dust and interior glow of a light that floats in the cosmic void.
From the smallest detail to the dilation of the figural nuclei, one senses a constant allusion to the image of chaos as the genesis of all possible forms, an active persistence of thought that develops a changeable alphabet of signs and a chromatic range that excites the eye, engaging it with the physicality of the layers of painted matter.
The signs are subtle, ambiguous, ephemeral, suggesting opposing directions, states of conflict and unstable equilibriums that sometimes seem like antennae designed to capture mysterious energies, other times communication a sense of disintegration, or the liberation of forms from gravity.
The colors are intense, concentrated on the energy of light; they give the impression of moving inside galaxies in the process of formation, suspended between fusions of signs and colors, without any known destination, as if dreaming of archaic cosmologies where swarms of atoms relentlessly conjoin one particle of matter to another.
With this almost visionary and sometimes even radioactive sensibility, the artist constructs a unique journey through the mythic landscape of elsewhere, in direct contact with the violet and nebulous atmospheres of the cosmos, with the solar vibrations of yellow and the emotional incandescence of red, between magical suspensions of white and imponderable resonances of blue, all of which come together in the memory of the past and the prefiguration of the future.
In a passionate and original way, the visionary and poetically scientific painting of Bergamo vibrates the mysterious strings of the imagination like a field of infinite pathways, which he follows with a natural ease, canvas after canvas, like a cosmic dream “waiting to begin”.