First of all I must confess, once more, to my colour blindness.

[F. Nietzsche]

I’not that I am a thinker (the pathological diagnosis was meant for them) but onl
and solely for the sake of writing, neutrality is obligatoiy.
On the other hand, pathologies do not end here, nor do oxymorons to reflect on-or better think of le dessin est aveugle. 

[ J. Derrida]

Golour Is blind or, sometimes like the medieval Madonna of Siena, “it has large eyes”; writing isfor that matter neuter, “not one or the other of the two “. Thus~ in this neutral state, any distinction is a matter of viewpoints; which Is not little ifwe think of the basicparadoxical “diseases”.
The colour of Antonio Ereiles’s works on paper has large eyes. Eirstt, because they are not only works “on” bza also “of”, and this deterniines not only a surface but
also a slight thickness.
To this we must then add some geometrical forins which structure themselves in
an orderly sequence, with a convenient idiosyncracy for the Euclidean space and, perhaps, br space in generai (since space Is the place o/bodies and here… there IS
not enough relief).
Freiles’is colour Is earthy; conceptualiy and concretely tied to earth. ft Is an idea ofcolour ofan oid world (I use the singular to neutraiize writing and a/so because everybody can, in virtue oftheir own coiour blind¬ness, iook at them from their viewpoint). It is the piane coiour of the Pythagoreans, of Descartes, ofHusserl and even of Wittgenstein (we accept the space f ianguage as concrete), in brief it Is the coiour of common sense which says that where there Is coiour there is idea ofspace. The projected space Is aiways coioured and coiour Is aiways spatiai.

[M. Serres]

In this way, the artisVs’ works ‘on” and “of”paper are always transitive and never reflexive.. theyproject themseives as space. Baudelaire said that colour artists are “epicaipoets”. A poet born on the other side, “where the sun, tired of the empire, sets”, Derek Walcott, says instead, that “all epIcflies with the leaves away with the art/ul caiculations on the hrown paper there was but this epic: the leaves…”
Rothko and Barnett Newman, but above all MorrIs Louis and Helen Erankenthaler (br thelr technique of Permeating the support) may be considered, through their works, as vIsual examp/es of this doubly epic colour and a/so asprecurso y
examples ofthis doubly epic coiour and also asprecursor exainplesfor Antonio Freiles.
I believe that Freiles’s works offer a greater effect (I do not “sec” why one should obstinately deny orfail to mention that painting, good palnting, produces an “effect”) they are vlewed in succession, one after the other. ThIs not only to amplyfy the sensitive Impllcations of a type ofpaInting that Is essentially and orlginally idea ofspace, but also to better to the process offormlng “a field ofcolour”. In fa ct these works are not representatlve. As Tommaso Trinl had already noted three years ago, “his colour Is not pure and shows a trace ofpainting, that is a creative act. And just because they are the expression ofan activity, the repetitlon, though never the same. of the image allows us to speak ofaformativeprocess oftheproject that brings into equilibrlum and orders the instinctive sensuality of the image itselfUnlike the geometrical distlnctness of “Systeniic Painting” theorized by Lawrence Allowy,
the central mo¬tif here, the mot/ itself Is a space made evldent so/ely by Its being coloured, it begins at the beginning, startingfrom a fu/i space to be e/a borated.“Whether you like it or not, art Is a llnearprocess. To prevent itself from retreating, art resorts to a con¬cept, that Is a cliché. 

[J. Brodskij]

The history of art Is a history that proceeds by additions and elaborations, thus lengthening the perspective of human sensitiveness~, enrichlng or more often, condensing the means of expression.
“In this case, it Is even obvious to stress how the concept of not retreating, the cliché the artist uses, Is the coloured space. A space ‘to he e/a borated” (not “to be presented” as happens when one single colour Is used). In other words, what, all that is presented by a landscape that wIll be brought into being.
An essential character of this radical rendition is the assimilation of lzght into the same coloured space. There Is indeed nopartition, directlon or external source oflight. These landscapes that are brought into being are, hy determination or by cliché, anti-naturalistic; they are shelteredfrom any illusion.
Freiles’s anti naturalism is determined conceptuallyjust by the systematic use of the rejects ofnaturalism by what remains ofit and here naturalism Is to be understood both as a genre and attitude.
In a veìy generai way (or blindy, on the side of wrlting) these works show an intense, “enriched and e/a¬borated” chromatic feast of language and, as all know, on festive days one makes a lotfor one’s spirit and sensitiveness.

Giovanni Iovane

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    Antonio Freiles
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