ANGELO ORAZIO PREGONI: POLYSEMANTIC RE-LIGO OF SIGN AND COLOUR

Angelo Orazio Pregoni has a marked sensitivity that comes from synesthesia; this dowry allows him to cross the chromatic matter, to make it his own, and to move it away from the concept of mere pigment. Color then becomes religion, that is, the absolute binder that allows the individual to overcome the limits of physicality to explore the human being in a total way. 

          Curated by Maria Marchese

                      Knot of bodies

                     fleeting pleasure

                    that binds our dust

                         to eternity.

                     Yolanda Bedregal

It is a cathartic instant, that which sees Angelo Orazio Pregoni gather himself, and within himself and within the "animomorphic" identity which he himself wishes to bind and celebrate, then, in a space where the hourglass is shattered: the sandy microcosms slip, then, between heterogeneous and indefinite reflective plots, finding, at last, a firm erratic abode. Eternity is thus the 'fleeting' pantheon, where the artist, as 'sacerdos' (sacer facĕre), consecrates an actual 'missa'; there, he seals the interiority of the individual as an inviolable value. He consummates this practice as quickly as intensely: in the same way as in a liturgical act, every element takes on fundamental importance. Thus, the artist first chooses the ground. Then, he identifies his 'writing instruments' and, finally, the mixes. He then places his 'sandalwood' on the virginal earth. on the virginal earth. 

He persuades the oily matter to abandon itself between his palms, after having made the wefts and warps less greedy, practising imprimitura. The hand bestows, decisive, icastic features, then, the brush kidnaps generous quantities of humours, subtracted from a tonal pentagram savoury of mystery, and marries them to the frugal diastemas created, embroidering "graces and sins"; the diachronism of the latter creates the experiential depth of a living presence.

Quite differently, however, when the artist tackles the levity of acrylic pigment: the painter sometimes aromatises the water with coffee or tea, infusing the mescida with the truths of awakening or healing, and engaging, indeed, in a completely different gestural dance from the previous one. The colours take on a restless temperament, 'so that the artist must tame their temperament, picking up their steps, to direct them, like a conductor, and create improvised virtuosity. 

The author's palette is imbued with the synaesthesia that distinguishes him: the dyads, triads, quadrhyads... that arise, come from a layering, made up of precious and unusual balances and chords; they release as many polychrome knowledge. 

To the eye they appear as aesthetic fullnesses, expressing a re-ligo, where the author makes colour, dynamism and trait depositaries of polysemous reflections, whose roots are embedded in a personality, his own, outside ordinary patterns of thought.

In a short space of time, Angelo Orazio Pregoni expresses that knot, which materialises the solo between body and spirit, rendering a fleeting dimension, already defined by the writer Yolanda Bedregall as unquenchable, solemn.

The pleasure corresponds, for Angelo Orazio Pregoni, to a salvific suffering: the piercing and the consequent bleeding are operated by a stral, infixed, where liquefying in the purple river becomes "ekistemi" and rediscovery.