THE UNIVERSEIS A BLUE TREE

pinoDEODATO

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“Wonder belongs to the philosopher’s nature, andphilosophy originates from wonder only”(Plato, Teeteto)

Among Ennio Flaiano’s brilliant jokes and very sharp paradoxes, the one thatgives the title to this exhibition seems to throw an adamantine light on theperpetual fluctuations, that swing back and forth from doubt to certainty;

fluctuations that characterise the “contemporary” man (holding that this categoryreally exists). I don’t’ know whether this is meant to be humorous or rather anaccurate picture of a certain type of cynicism, simultaneously steady and gentle,sharp and poetic, insinuating the doubt within a vision of the world that, all in all,is open to the epiphanies of the wonderful and fantastic a vision that inmy opinionperfectly fits to Pino Deodato. The artist has passed through seasons of burningpolitical passions and nevertheless succeeded in maturing a point of view, at leastin linguistic and aesthetic terms, capable of combining scepticism and emotionality,critical spirit and lyrical adhesion. Pino Deodato is a humanist, a picture alchemist,always tirelessly in transit between painting and sculpture, in-between drawing andinstallation, but also in-between concept and emotion. A son of different ages –the militant age of the seventies, the individualist of the eighties, the definitelypost-ideological of the nineties and the mobile and liquid of the first five years ofthe new millennium – Pino Deodato is an eccentric presence in the contemporaryart scene. This anomaly has spent the last decades building up his own, originallyrical cosmology, made of soft moonscapes and evening apparitions, rarefiedpresences and surprising communions with panic. In his works the world looks likea territory of disclosures, an epiphanic place that man watches not just optically,with a surprised look, but also cerebrally, due to those literary and poetic

LIKELY, ABSOLUTELY LIKELY, EVEN CERTAINIvan Quaroni

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peregrinations that, unavoidably, are themythological skeleton of his visions, oftensuspended between a sublime romanticism and a mysterious, crepuscularMediterranean nature.

The man who thinks and watches, reads and writes, and constantly wondersabout the innate essence of phenomena, about the ultimate substance of creationis the protagonist of Deodato's imagined journeys. He is aman folded in on himself,as if engaged in chasing the thread of a thought or unravelling the tangle of a dream;sometimes taking part in human affairs, constantly in search of utopian pacificationthrough natural forms.This kind of man, who has lived within the artist’s work forsome time, is a secular variation of St. Thomas the apostle, who embodies theskeptical spirit that anticipates any change, the doubt that precedes any dismay. Adyad composed of feelings of incredulity and wonderment seems to governDeodato’s recent works, oscillating from pole to pole, with pendular accuracy, butposed as if they are complementary extremes, ontologically related. St. Thomas isactually a two-faced figure, who embodies the effigy of suspicion, one who justbelieves facts based on evidence, as well as the image of themissionary inflamed byfaith, evangelizer of Syria, Mesopotamia and South Western India. Yet Deodato’sSt. Thomas is something more, the epitome of art and poetry becoming one.Doubtful tension is alluded to in works such as “Preciso disegno secondo canonidella sezione aurea” (“An accurate drawing according to the standards of the goldensection") and “Le pieghe dei vestiti raccontano la storia” (“Clothes’ folds tell thehistory”), both of them dominated by the alchemical “nigredo”, the initial step in thedescent into the underworld of reason. In the first installation, Thomas is actuallythe man who measures the world according to logic, who traces the perfectgeometry of a circle. He, who observes a landscape of black haze, reproduces itmimetically, but then sits down on a sheet of crumpled paper, dejected. In thesecond installation, Thomas is represented with fingers sceptically outstretchedÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=NS

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towards a hypertrophic wound, at once an apotheosis and a tribute to Caravaggio’snotorious vulnus The Incredulity of Saint Thomas, 1601-1602. Here, with skillfulsynthesis, Deodato describes the events of an existential defeat, which defines anddenounces the limitations of Cartesian thought. Yet this is just one stage of his ownpilgrimage. Elsewhere, a rational approach seems to coexist with lyrical andintuitive ones, such as in the case of the diptych entitled “Seduto beve la notizia”(“Sitting up man drinks the news”), where reading and dreaming represent twoways of looking for the truth, one focused on the analysis of facts and theirinterpretations, the other focused on the images of the unconscious. Travel, be itphysical or astral, is a recurrent subject in Deodato’s works, which are oftenscattered with auroral, iridescent appearances that mark, like delicate filigrees, thecobalt of a nightly sky.

In his latest works, the vaults give way to a more tapered space, mostlymonochromatic, in which the milky kaolin prevails and characters float among theminute reliefs of the trees, magmatic whirlpools and aerial nimbi. Deodato seemsto focus on the action, like a close up in a film, neglecting the details of place, andthe Blaue Reiter-style settings in much of his other work. “Ho amato un albero” (“Iused to love a tree”) and “Grande amore” (“Big love”) actually show a chromaticsensitivity through subtle surface variations and soft chiaroscuro accents, thatlighten the story, deprived of the calligraphic details that still abound in the homeinteriors of “Tra una carezza e un sorriso, l’universo” (“Between a caress and a smile,the universe”). In short, Deodato uses a drier, basic language, while never losing asense of levity, in work permeated with astonishment and wonder in the everyday,such as in the case of “Portata del vento (da tradurre)” and “Meraviglioso”, whichare installations playing on a highly calculated sense of suspension, whereman andnature seem to merge into a new level of intimacy, yet, full of references to acultured or refined “naiveté”. In these works, the first hour skeptic, St Thomas,ÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=NU

tormented by doubt, gives way to an astonished witness, to a champion of faithcapable of embracing the existential maelstrom and rising above human worries,soaring amongst the clouds. Yet, the artist is not referring to a St. Thomas ofEvangelic, Apostolic or even Gnostic faith. Pretentious figure, a sort of culturallemma, used by the artist to introduce a non-denominational feeling of faith thatis more similar to the elementary magic of popular folklore. Indeed, Deodatodelineates a path in his work of discoveries and disclosures, of theophanies –perhaps collective but almost inevitably individual – that filter the humanexperience through coded artistic language.

Thomas’ doubts are those of the artist, who is metaphorically suspendedone step away from the brink, maybe waiting for a sign, a revelation. Wonderand astonishment become the viaticum for a definitive choice, because in orderto launch into space one must first accept the mission, be it even in the prosaicsense of art.

There is a painting dating back to 1984, “Il suicidio del pittore” (“Thesuicide of the painter”) that can be considered the forefather of many to manyof the artist's later pieces. It shows a landscape at dusk, half occupied by a veryhigh cliff, shrouded in shadows, from which we see a small fiery figure divingdown. It does not seem to be a suicide at all, but a sort of soaring after a longperiod of indecision. Just before this moment, we can imagine the painter asthe protagonist of “Sospeso nel nulla. Trova un precario equilibrio” (“Suspendedin nothingness. He finds a precarious balance”), with his toes on the last bit ofrock or maybe on the edge of a cliff, aware that in the blink of an eye, thatcoveted jump will become likely, absolutely likely, even certain.

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Small, very small, calm, quiet andlonely. These are Pino Deodato’s claymen, on view at Progettoarte-elmgallery in Milan. Lonely charactersare suspended in the exhibitionspace, almost forming a capillarynetwork of correspondences, voices,cross-references, each one somehowassociated with the other’s loneliness.“Cerco, trovo” (“I search, I find”) isthe title of the exhibition curated byMarco Meneguzzo, as well as thecentral essence of a “tranquillitateanimi” that pervades Deodato’s smallmen: to look for something that, youknow, you’ll be finding sooner orlater, without a care. Painted worksin clay and bronze, together with afew experiments in pencil drawingon terracotta tile, contrast transientsigns with firm material presence. The“rooms” where the small clay statueslive allegorically exemplify, in avariety of ways, the means by whichknowledge or wisdom is acquired,be it in a library or primordiallyinfused, falling short total knowing.But maybe being content is enough,otherwise one would have to facethe idea of never being able toachieve the real goal, or reach thefinish line. Perhaps the continuousquest for wisdom, without the anxiety

of trying to reach the highest peak, isknowledge too. No existential crisishaunts these normal men. Theirfamiliar thoughts have beenintimately unveiled. While singularlyplacid in their daily meditations, theyseem resolute in the collectiveexperience of existence.The artist reaches a sort of“humanized symbolism” by tellingsmall stories - what is intimatelypersonal can become symbolic. InDeodato's work every "tile" of menimbued in their thoughts adds to amosaic of relationships that fill theexhibition space. Little by littlesomething is revealed, but only tothose who will search.

PINO DEODATO.HOW TOSEARCH AND,SOMETIMES,TO FIND OUT

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WORKS

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DEODATEO COSTELLATION, 2015, polychrome terracotta, 300 x 200 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=OO

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GOOD NIGHT FLORET, 2015, polychrome terracotta, 15 x 17 x 13 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=OQ

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CLOUDS, 2015, polychrome terracotta, 15 x 6 x 10 cm

BEAM OF A STAR, 2015, polychrome terracotta, 10 x 4 x 4 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=OS

ÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=OT

THE UNIVERSE IS A BLUE TREE, 2015, polychrome terracottaÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=OU

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FIXED IDEA, 2015, polychrome terracotta, 28 x 9 x 7 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNQ==m~Öáå~=PM

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BLUE TREE, 2015, polychrome terracotta, 21 x 16 x 17 cm

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BLUE TREE, 2015, polychrome terracotta, 17 x 21 x 15 cm

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THE UNIVERSE IS A BLUE TREE, 2015, polychrome terracotta

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BLUE TREE, 2015, polychrome terracotta, 16 x 20 x 13 cm

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BLUE TREE, 2015, polychrome terracotta, 20 x 15 x 15 cm

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THE ONE WHO SEES FAR AWAY, 2015,polychrome terracotta, 20 x 21 x 10 cm

Black Think tank, 2015, polychrome terracotta,24 x 15 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNR==m~Öáå~=QO

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HOME SWEET HOME, 2015, polychrome terracotta, 200 x 150 cm

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CIAO, CIAO, 2015, polychrome terracotta, 52 x 20 x 7 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNR==m~Öáå~=QS

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HOME SWEET HOME, 2015, polychrome terracotta, 22 x 17 x 7 cm

BUILDER, 2015, polychrome terracotta, 9 x 24 x 4 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNR==m~Öáå~=QV

HEAVEN, 2015, polychrome terracotta, 23 x 29 x 5 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=RM

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BELVEDERE (VIEW POINT), 2015, polychrome terracotta, 100 x 70 cm

FAR, 2015, polychrome terracotta, 22 x 26 x 15 cm

SMALL LANDSCAPE, 2015, polychrome terracotta, 28 x 19 x 3 cm

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I SEARCH, I FIND, 2015, polychrome terracotta, 100 x 70 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=RS

I FIND, 2015, polychrome terracotta, 17 x 13 x 4 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=RT

DOT, 2015, polychrome terracotta, 13 x 10 X 2 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=RU

I SEARCH, 2015, polychrome terracotta, 16 x 12 x 6 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=RV

UNDONE, 2015, polychrome terracotta, 200 x 100 cm

SELF-PORTRAIT, 2015, polychrome terracotta, 18 x 26 x 3 cm

INFINITY, 2015, polychrome terracotta, 19 x 19 x 10 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=SM

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WITHOUT WORDS, 2015, polychrome terracotta, 50 x 200 cm

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GOLDEN RATIO, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=SQ

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EMBROIDER, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=SS

WONDERFUL, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=ST

WITHOUT WORDS, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNS==m~Öáå~=SU

WORDS, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=SV

TOUCH AND GO, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TM

GOOD NIGHT, 2015, polychrome terracotta, 18 x 13 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TN

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THERE' S NOTHING ELSE TO DO, 2015, polychrome terracotta, 300 x 200 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TP

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THERE' S NOTHING ELSE TO DO, 2015, polychrome terracotta, 32 x 28 x 8 cm

AUTOBIOGRAPHY, 2015, polychrome terracotta, 22 x 17 x 2 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TR

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MANY LITTLE IDEAS, 2015, polychrome terracottaÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TT

LITTLE IDEA, 2015, polychrome terracotta, 15 x 8 x 5 cm

MANY LITTLE IDEAS, 2015, polychrome terracotta, 23 x 19 x 15 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=TU

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SMALL THOUGHTS, 2015, polychrome terracotta, 300 x 200 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=UM

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SMALL THOUGHTS, 2015, polychrome terracotta, 23 x 19 x 5 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=UO

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HAVE A NICE JOURNEY, 2015,polychrome terracotta, 15 x 25 x 3 cm

TOUCH THE SKY WITH ONE FINGER, 2015,polychrome terracotta, 23 x 7 x 7 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=UR

THE DAY, 2015, polychrome terracotta, installation dimensions varyÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=US

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IN THE HEART OF THE PROBLEM, 2015, polychrome terracotta, 15 x 20 x 14 cmGARDEN, 2015, polychrome terracotta, 35 x 27 x 9 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=UV

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THE DAY, 2015, polychrome terracotta, installation dimensions varyÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=VO

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GUARDIAN, 2015, polychrome terracotta, 15 x 9 x 6 cmWHAT TO DO, 2015, polychrome terracotta, 21 x 17 x 5 cm

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FIXED IDEA, 2015, polychrome terracotta, 14 x 3 x 3 cmÇÉçÇ~íç âìï~áí ÅçêêKèñÇWi~óçìí N OOJNMJOMNR==NUWNT==m~Öáå~=VS

GARDENER, 2015, polychrome terracotta, 33 x 23 x 6 cm

A path began in Nao di Jonadi (ViboValentia, Italy) where Deodato wasborn in 1950 and later completedhis early studies and was granted adiploma in the arts in Vibo Valentia.Soon afterwards, in 1969, hedecided to move to Milan to study atthe Brera Academy; a choice thatproved felicitous, considering that atthe end of his first year of studies hewas acknowledged as one of thebest students with a group exhibitionat Ciovasso Gallery. Meanwhile inMilan, Pino got in touch with themain players in the Milan art scene,including Paolo Baratella andGiangiacomo Spadari, who he laterbecame the assistant to. Meanwhilehe got in touch with the world ofFrench art, approaching masters suchas Gerard Guyomard, Ivan Messacand the Spanish Arrojo. In theseventies, in a time when culturewalked hand-in-hand with politicaland social events, that Deodatostarted developing his artisticcreations and toured them aroundItaly. He also represented youngItalian painting abroad by exhibitinghis very personal work in Salon de laJeune Peinture at Musèe D’ArtModerne, Paris, at Musèe duLuxembourg and at Alvarez Galleryin Lisbon and Oporto.

At the same time, in a frantic yetbrilliant period of deep inspiration,his paintings were admired acrossItaly in the Quadriennale d'ArteNazionale in Rome, and inexhibitions at the Murat Castle inPizzo Calabro and the GagliardiPalace in Vibo Valentia. In the lateseventies and early eighties the artistsdeveloped several murals, both soloand collaborative, that called forsocial change. In 1982 Deodatoresumed his personal artwork andcontinued exhibiting domesticallyand internationally, including inMilan (Gastaldelli, Il Milione, Klerksand Cardi galleries), Bologna(Cristofori), Turin (Narciso), Lucca(Poleschi), Benevento (various art

events), Forte dei Marmi (SusannaOrlando), and Miami (Ambrosino).He has been commissioned by theConi (Foro Italico, Rome), the PaoloPini Museum in Milan, by the city ofTurin (Manifesto d’artista) andSedriano (San Francisco and theWolf). His work was also featured inthe "Videosapere" telecast.Neodato's paintings that have beeninspired by legends and fairy talessuch as Tarzan, Tex WIller andUlysses belong to the Trussardi,Coveri, Castelli, Pikler, Diamini andManuli collections, amongst others.Magical realism was infused in theartist's work into the nineties.Paintings such as The firefly eaterand The man who used to talk withbirds because men cannot hearanymore were metaphors for life tothe artist who had isolated himselffrom the confusion of the outsideworld. These allegorical metaphorsare still at work today to tell the storyof man, traveling, with successes anddisappointments, pulled from thealbum of his existence. Hereintrospection and the will to fight ondespite obstacles, are essential foreach individual to define their ownspace within the universe.

BIOGRAPHY

SOLO EXHIBITION

2015The universe is a blue tree, CAPContemporary Art Platform, KuwaitCity, KuwaitPino Deodato. Cerco, trovo (I seek, Ifind out)progettoarte-elm, Milan

2014Senza parole (W ithout words),Giuseppe VenieroProject, PalermoCerto, certissimo, anzi probabile,(Certain, absolutely certain, evenlikely)Susanna Orlando Gallery,Pietrasanta, curated by Ivan Quaroni

2013Gli Angeli di Pino Deodato (PinoDeodato’s Angels),Orlando Arte Gallery, Roncadelle,BresciaLa Campana di Filippo (Filippo’sbell), PlusDesignGallery, Milano11-1

2

-13, Atlantica Gallery,Vicenza

2012Il tarlo del chiodo fisso (To have abee in one’s bonnet) , ProgettoarteELM, Porto Mirabello, La SpeziaLo Scultore innamorato dellaScultura (The sculptor in love withSculpture), Roccatre Gallery, Turin

2011Il Circo dell’arte (The art circus),Claudio PoleschiContemporary Art, Lucca, curated byEnrico Mattei

2010Equi…libri, Art’s Event Gallery,Torrecuso, (Bn), curated by GiorgioOgnisola

2009L’angelo custode (Guardian Angel),Piccola GalleriaMaison, Pietrasanta (Lu)

Paesaggi domestici (DomesticLandscapes), ProgettoarteELM, Milan, curated by GabrieleSassone

2008La Santa Scultura (Holy Sculpture),Narciso Gallery,TurinLa Campana di Filippo (Filippo’sBell), ForteBelvedere, Florence

2007Parlava agli uccelli perchè gli uomininon ci sentivano più (He used tospeak to the birds because men didnot hear anymore), PalazzoPantiachi, Tuscany Region, Florence

2006La torta della sposa (The bride’scake), Klerkx Gallery, Milan

2004Parlava agli uccelli perchè gli uomininon ci sentivano più (He used tospeak to the birds because men didnot hear anymore), SedrianoTownship Palace, (Milan)Gli sposi, il pensatore e ilmangiatore di lucciole (The brideand groom, the thinker and thefireflies eater), “Il Paese delle viole”project Jonadi, (VV)Pane e Vino (Bread and wine),Mulazzo Old Town, (Massa Carrara)

2003Silenzio (Silence), Narciso Gallery,TurinPanevino (Breadandwine), Cargo ExSilo del Cacao,Milan, curated by Alessandro Riva

2002Il sole tramontò alle 17.15 (The sunset at 5,15 pm), PortoVito (Ro)Nostro pane quotidiano (Our dailybread), Art’s Event Gallery, Torrecuso(Bn)San Francesco e il Lupo (St. Francisand the Wolf), S.Bernardino Church,Sedriano (Mi)

SOLOEXHIBITIONS

2001Chiaroscuro, Narciso Gallery,TurinLa Santa Pittura (The holy painting),Galica ArteContemporanea, Milan, curated byLuigi DicoratoCon riso (Laughing), MonopoliGallery, PaviaI Viandanti (Wayfarers), GagliardiPalace, Vibo Valentia

2000Boccadirosa (Rose mouth),Ambrosino Gallery, Miami, curatedby George Bolge

1999Dalla Terra verso il Cielo e ritorno(From heart to Heaven and Back),Art’s Event Gallery, Torrecuso (Bv)

1998I Viandanti (Wayfarers), Santuario diNostraSignora D’Oropa (Bl), curated byLuigiDicorato and Marco Meneguzzo

1997L’Elogio dell’attesa (the Praise ofWaiting), Studio Cristofori,Bologna curated by Sara FontanaManufatto (Artefact), CesareaGallery,Genoa, curated by Marco Pierini

1996L’Opera Rossa (The red work),SusannaOrlando Gallery, Forte dei Marmi(Lu), curated by Paolo SciortinoI Primari (The Primary), CardiGallery, Milan, curated by LuigiDicorato

1995Ritratti (Portraits), Il Milione Gallery,Milan, curated by Pino Tripodi

1994C’era una volta… (Once upon atime), Vittuone Township (Mi)

1993Tutti gli eroi sono buoni (All heroesare good), Proposte d’arte, Legnano(Mi)

1992Confine (Boundary), Cardi Gallery,Milan, curated by Elena Pontiggia

1991Lupus in fabula, Gastaldelli Studio,Milan, curated by Mario PerazziPer terre e per mani (Through landsand hands), Palmisano Gallery,MilanArte xerofita (Xerophile art), CentoseiArte, Bari

1989Porta Ticinese Gallery, MilanPopolare di Milano Bank, Milan

1988Gastaldelli Studio

1987Literary Cafè Portnoy, Milan

1986Accent. KaiserlautemGallery, FreiburgerRinascita Cooperative, Vittuone (Mi)

1985Marenaio (Sailor), Studio dei Rossi,VeronaWeen Das Gras Hoch Ist Uns DasMeer Tief, Panetta Gallery,MannheimPontepietra Gallery, VeronaSteffanoni Gallery, Magenta (Mi)

1978Town Library, Vittuone (Mi)

1975Alternative Galleries (Parigi)Degli Angeli Gallery (Riccione)Galleria Alvarez (Oporto)

1974Gagliardi Palace (Vibo Valentia)

1973Murat Castle (Pizzo Calabro)

Text byIvan Quaroni

TranslationsMichael Haggerty

DesignSara Salvi

Photo creditsBruno Bani

In collaboration withprogettoarte-elm

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