Antonio Caronia
…”Here as well, one can recognise the analogy with Ballard: like in those novels and short-stories, the same as in “Acids” of Cesare Fullone, the illness, the disorder, cease to be the negative elements; they become a distant view through which the reader, the spectator, could pick elements that could not be sensed otherwise, or give forms and colours the meanings that would not exist in other contexts. The views that Fullone throws on those decayed images, those media molecules, they are different, and thus different are the conclusions he comes to, also dependent on the techniques he chooses: from the kind of the acid he throws on the paper, to scanning and the materials he prints on (canvas, rubber, transparent film). At times the image shows a contrast between the zones that are not touched by the acid, which preserve, also emphasise the glitter of the basic photograph, its a bit frivolous glamour; and those corroded by the acid that seem like the bizarre jewellery, or the new chemical clothes that cover both the face and the body.”…
LIGHTENING CORROSION
Existing in a virtual world, reality that does not exist in tactile, but only in optic or auditory world, that at the same time reflexively influences the empirical conception of reality, we are subjects to dromospheric pollution (Virillio). It evolves from too rapid change of information and influences the loosing of the firm ground. Where to look for shelter, without escaping in isolation?
Cesare Fullone is not looking for a proper oasis in fluctuation of always new consumer paintings. Moreover, his paintings were created by an obsessive enchantment by the media. (“My TV is always on, I never stop the contact”) The media of Cesare Fullone is most frequently presented by the media itself. Collage and de-collage of the usable media material, in opposition to Rauscemberg or Rotella, he switches with enformel analysis procedure.
Spontaneously, with chemical solution he destroys the membrane of “the found painting”. He dissolves shapes of the adds, city skylines, star-photographs: of everything that presents nourishing and easy digestible food of a contemporary iconography.
By taking the painting out of the context of one media and transferring it into another, and by corroding the solid shapes, he follows the lightning effect, at the same time promoting the depiction of realistic time to a sphere of undefined and unpredictable mutations.
“This is the art where information meets poetry, fact meets state of alternate consciousness, where legends meet filters of love, and social tensions – irritating synthetic colours.” (C. Fullone)
Fullone’s art mission is also reflected through shaping of “Virus” magazine, where oftenly appear his own creations. The reason being not only the practical one, but an attempt to find a less direct way by the side of the inevitable gallery concept of art distribution, to escape the possible obsoleteness and exile of art in the elite sphere.
Radmila-Iva Jankovic
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Cesare Fullone
Artistic creation of Cesare Fullone during the past few years was concentrated around linguistic and visual mixtures. In this manner we can also place his latest work Acids, realised with the help of computer technology (computer, laser printer) and composed of media images that were manipulated and corroded from their original state in order to produce a real morphological mutation.The exhibition “Human Landscapes” is an installation where video, photographs and “Acids” define a changed human perspective.
