LONDON.- The exhibition is comprised of six recent still-life paintings; a genre that has consistently fascinated the artist and one which he has explored throughout his career. Based on photographs taken by the artist, the often large-scale (Fuori Registro, 2005, 280 x 280 cm), monochrome canvases bestow a monumental scale to the typically humble, day-to-day objects of his studio. The result is not intended to be a faithful or objective rendition of subject; but is, rather, a carefully staged composition, imbued with an exquisite artificial theatricality.
Using unprimed canvas, the surface is built up in delicate layers of white paint. From a distance, they appear densely painted with varying shades of white. On close inspection, however, the viewer realises the sparsity of the paint and the economy of means through which this illusion has been achieved. Forms are often merely indicated, relying on the eye to complete and make sense of them.
The scenes are softly lit; the edges of objects frayed or blurred conferring on them an incorporeal, illusive quality. Reminded of their origin in photography, the viewer is left uncertain as to whether the composition presents positive or negative forms; coming into focus or moving out of focus; emerging into light or dissolving into darkness.
Suggesting an interest in perception, memory and transformation, the works raise questions about the relationship of the subject with its representation; the act of translation that governs not only the making of a work in a particular medium, but also our beholding.
As the artist explains: All my work is based on these balances, between observers and being participants in the work, inhabiting the space of observation. Approaching is a fundamental action, like taking ones distance.
Born in 1961 in Florence, Luca Pancrazzi now lives and works in Milan. Throughout his career, he has used a wide range of media from painting and photography to video, light-boxes, sculpture and large installation pieces. Recent installations include the extraordinary "Il paesaggio ci osserva", a miniature model city made of old computer and typewriter parts complete with surveillance cameras and monitors exhibited at Art Unlimited, Art Basel in 2006 ; and his project "1:1" for the Second Moscow Biennale of Contemporary Art in 2007 where he showed, amongst other pieces, a Maserati car covered in recycled, shattered glass.