Oscar Fonti
Reinbow in Danmark
Making a painting project that has to develop itself, move and marry the external wall and some spaces of an architecural ensamble alredy existing, this is not only a wonderful idea but also diabolic.
When it’s a matter of an artist like Oscar Fonti ,it’s aut of question of considering architecture only a visual support, but on the contrary it’s a matter of organizing a aspace where the eye will merge.We are talking of a space which is litteraly different, without considering it as an element hiding architecture itself. If the artist at the beginning have to privilege the volume of the factory to the initial achitecture, i also initiallyhave to impose his ovn personal news or laws to the support which will be the painting.
At this stage one question arise in order to avoid a sort of trapsituation: are we possibly facing a decorative definition? In this case what sort of ornament will be the pictorial work of this artist? The ornament of a mass, of an architectral surface, of a work space or just an interrogation about the suitable places for art? And which reality of Tajco factory would support this ornament?
When we talk about ornaments, we generally mean all those decorating elements of a support entirely covered by the ornaments themselves.
Now the work of Oscar Fonti cannot be considered as an ornament. The attention that i haof the ve consecrated to this factory, indicates that every step is quite different than a simple decoration.I make evident some fondamental winning postes when practising art as his succeed in leading the vewers or the spectators into a system of limits explosion of fantastic flights, in such a way that it is possible to get into the painting. With this process all disturbing elements such corners or particular architectural surfaces, disappear, with no more interference with a reality which is only aerial.
We can this way realize how much precise is the binar system operated by Oscar Fonti when it happens to transform the meaning of the angel mtif. One side there are the voided corners, telluric masses, organic sizes which rise at every corners ( protuberant or receding ) that seem to extend far below the wall as a crushed verticality, coming aut of the ground .
These entitis which have a morphological structure of a spreading cosmic boiling, are a way of neutralizing the architectural corners. On the other band we find a series of architectural decorative corners: pinted pipes wich suddenly groow in a zig-zag way transferring the angle motif on large and flate architectural surfaces, creating the junction of the two Taico writings.
These are glimps of junction and sepration which indicate the dis-junction. A wall then that sometimes sends us back to a vegeable telluric base, sometimes to a celestial ground or towards the linear screeching of the light.
Like somewhere else, in all Oscar Fonti’s works, light beams seem reflect themselves against invisible obstacles. In this case thei just indicate one more time the mistery of the angle, as we cannot realize from the autside the reasons of this angle. The broken line painted as a thundrbolt on the cosmic space, is probably the repeated scheme of the factory plan, but we’ll never be sure about that.
It is equally a mistery the incomprehensible zig-zag of the thunderbolt as if the game of these colored lines would be these to indicate a asuper-rainbow which reflect itself as pure radiation. It’s a rainbow that clashes against an ivisible obstacle that on the contrary would oblige it not to follow the continuous flow.
ANNETTE MALOCHET
PARIS, 1991
