Adrian Tranquilli

Adrian Tranquilli is always focused on blending mind and shape and shape and mind in a three-way bounce that leaves no space to extension or distraction. The nature that drives and feeds his work traces a line of interest in the process between art and considerations on art, between making and reasoning, between kunstvoll arbeiten and Denken, more specifically. "I have studied cultural anthropology with Ida Magli, a subject that has always been part of my work. My parents were artisans, so I have always been familiar with activities centred around creativity and manual skills, and I believe this led me to experiment things", says the artist in a 1999 interview. "To me, making art has always something to do with using your hands, and intense physicality; even when using my computer, it is always about manipulating matter" .
Since entering art's imperfect space, Tranquilli has structured a game been gorged with ploys based on the balance between the study of facts and the processing of ideas, the intellectual fabric and the coherence of materials used a means, or an implant, as pure and simple resource to give thought a shape. This very same game is played on the double front of theory and practice, on transitive connection of twin levels, organized hierarchically by Daedalic qualities (precisely ??????????) which indistinctly absorb both specular subjects - anthropology and sociology, history and geography, cinema and science fiction, sophisticated magazines and mythology - and the roots of art and the technical discourse that permeate its history.
In his first exhibition at Studio Aperto in Rome, the artist attracts attention with a series of works - Svelata (1992), Adora (1993), Credo (1993), Genuflessa (1993), Resta (1993), Amore (1994) and Come te stesso (1994) among others - which show his assimilation of masters (Yves Kline, Toti Scialoja, Nunzio, Louise Bourgeois, Pino Pascali o Katharina Fritsch; all of them followed for their avoidance of the canon of the day) and the desire to enter art's door tout court and move in an elastic area, to look closely at void's blinding obstacle, to go ever deeper into the awareness of a mobile and mutating reality. "In his creative process, Adrian dodges the harmless conclusions of a certain current language, and questions the image within its very origin" Gabriella Drudi suggests on that occasion, "In a sort of rite of reintegration, this artist starts formulating figures as a deliberate choice, annexing contaminated imagery, emotional breakdowns, experiences of the mind funnelled in the misshapen fabric of a dark symbolism" . [...]