C O L O R V I S I O N

On a purely formalist level, these chromatically lavish abstractions of Marco Minozzi engage the onlooker with an unprecedented feast of painterly pleasure. Having paired tonal variations with such diverse hues as orange, yellow, red, green and black, these paintings of Minozzi are aimed to revel our sensory faculty of vision. In these abstract pantings of Minozzi, we find implicit references to Masaccio’s deployment of atmospheric perspective in such a fresco as The Tribute Money (circa 1425) at the Brancacci Chapel of Santa Maria del Carmine in Florence. “Without lines or borders in the manner of smoke:” these words of Leonardo da Vinci regarding the sfumato technique are embodied through the brightness and shading within these abstractions of Minozzi. Yet from a broader, metaphysical perspective, these abstractions suggest, at once pictorially and metaphorically, the boundlessness of the universe and its dichotomy of order and chaos. At once an homage to such movements as Tachisme and Abstract Expressionism and a redefinition of such aesthetic currents, this series of paintings of Minozzi maps coloristic techniques of illumination to the modernist language of painterly abstraction.