Compared to cosmic coordinates, we are no one; nevertheless, our urge to understand the rhythms of existence – giving intrinsically neutral facts arbitrary meanings that work as an antidote to a feeling of emptiness contrary to the very essence of life – is not appeased. As Popper wrote, the quest for truth never stops; since we will never come to know irrefutable truth, we shall continue perfecting our knowledge of the world. Possibly, this is the most disarming discovery made by twentieth- century science.

At the same time, the short century of art flowed, in a spirit of contemporary feelings that led to the abandon of any claim to representativity, and a major involvement of the end-user, called to actively interpret the work of art.

This feeling of restlessness is clearly present in the outcomes of over 40 years of activity of Angelo Dozio, an artist as shy as his icy Brianza, where he was born in 1941. His works have been, and still are, an inexhaustible succession of experiments.

Dozio quickly abandoned the figurative vocation that marks his first works and adopted a meta-painting approach, which has become the very core of his style, and is based on the same analysis of perceiving mechanisms that characterises the studies on colour carried out by the exponents of the Optical Art movement. His style is now a grammar of easily recognisable verb phrases. His canvases are marked by pure intuition and asymmetrical segmentation of the visual composition, taking the observer’s eyes to unexplored spaces, asking him/her to manage them. Committed to strict geometrical abstraction, ever-changing exercises in style follow each other, despite a tricking first impression of monotonousness. Flat surfaces and forms yield to colour, first violin, and are happy with their roles as supporters, working together in the lyricism of the visual ensemble. The only contact with reality rests in the titles of his series of works, which can be considered as the single chapters of an introspective path climbed using increasingly refined instruments.

These works are marked by asymptotic and inexhaustible research: from the bends in Rondini to the points in Neutrini, from Orizzon and Labirin to Zolle. After all, each of these works includes some lines, and even in Zolle – some geometrical volumes that can be applied to walls – Dozio recovers that relationship with vibrating and fertile matter that marked his first collages. A completely delimited alphabet made of few forms, studied in every detail and involved in an obstinate reduction to a minimal language that does not deprive these forms of their meaning. From the convolutions with which the heralds of spring cut through the air – marking the limits of campitures of colour spread in a full and at way – to the colourful and symmetrical dots that stand as symbols of the ul mate unity of existence, and of a throbbing energy that cannot be further divided. In the Labirinti series, bends gradually lay down on the horizon and then fragment into tiny segments of visual lattces, creating mesmerising grids where there are no dominant shapes and the eye can follow any possible path.

Finally, there is a short-circuit – the Infiniti (“infinites”) works, where the vibration of lines gets out of control. We are no one and we have nothing to lose: then, we might as well venture in search of the Absolute, although we will never be allowed to really grasp it.

Isabella Michetti

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