Invitation to a disaster

If there are two artists who can intimately and secretly shed light on each other, these are Matteo Montani and Antonio Trimani.
Trimani's screen light seems to have the same immaterial density of Montani's painting, for in both cases the flux of images appears to be still. Movement is a mirage; nonetheless, mirages are real.
In Montani's case, we can still read the vibrant story, or rather the micro-stories, of how color has been applied, of how it pours down and drops, of how blue glides on the invisible and shimmering roughness of the grains of abrasive paper, phantasms of painting longing to appear to better disappear. In Trimani, the stillness of the image is counteracted by barely perceptible changes and transformations. In short, the two artists unintentionally exchange the very essence of their expressive and technical means.
For his part, Montani possesses the visionary quality of those who have to create a world that appears, whereas Trimani first has to look at the world that has already appeared.
The former waits for the miracle to happen, while the other already has it in front of him and only has to recreate it through the electronic vision. [...]