Due o Tre Dimensioni Infinite is an exhibition of painting and it creates a dialogue between works from different periods, by four different artists that, although they have varying histories and paths, all reached full maturity over two packed and complicated decades: the Sixties and Seventies.

The title alludes to an idea of depth that, relating to paintings within paintings, presents itself as a variable and uncertain figure, which seems to derive, in each exhibited work, from the exchange of energy between the work and it’s material parts, the two-dimensional surface as well as its physical and objective presence, and a spatial quality that exceeds these physical limits, unfolding internally (but without creating a coherent and organic representational dimension) or externally, propagating in the atmosphere and thus redefining the idea of the space pertaining to the work.

In Due o Tre Dimensioni Infinite therefore, different notions of rhythm, depth and space, born from apparently rigorous syntax but nevertheless retaining the possibility of lyrical abandon, activate and encounter one another, contaminating each other and collapsing on top of each other.

In this way, the works of Ruth Ann Fredenthal, painted on linen, are “false monochromes” that, vibrating as a result of the use of three four colours, beckon the spectator into a long viewing, a prolonged observation, to welcome them into a deep, dense and atmospheric space that is potentially infinite; Saverio Rampin’s works from the Seventies (realised after different phases that could be characterised by Informalism and Spatialism) have an abstract grammar that derives from the charm of the real and from a notion of “colour – light”, of composition as a dynamism of chromatic bodies, “plastic presences in space”.

The Level Group Paintings by Lucio Pozzi, “nomadic” presences within the exhibition, multi-faceted germinals that have always characterised the artist’s practice (based on the free combination of “ingredients”, that is, often opposing concepts) are pairs of paintings hung at the same level, which are activated through their dualism (vertical and horizontal strokes, the surfaces’ differences in weight and thickness levels).

The paintings of Riccardo Guarneri articulate the surface in agile and irregular scores, in a rhythm of continuous and slight advances and withdrawals, based on the repetition of horizontal or vertical lines and bands, of shapes (false squares) and poetically pale and “questionable” colours (to use one of the artist’s expressions) that interpenetrate one another and extinguish themselves in a perpetual non-finiteness.