Galleria Tiziana Di Caro opens the first exhibition in its premises by Luca Gioacchino Di Bernardo (Napoli, 1991), entitled Fuoco, Innesco: cacciata dall’Eden [Fire, Ignition: Expulsion From Eden], starting on Thursday 29 September 2022 at 19:00.
In Luca Gioacchino Di Bernardo’s work, the observation of reality is intertwined with spiritual tension: the artist is constantly looking for the smallest detail – yet always in the context of the whole – of stories from the past that are revealed through the drawing of the present. The content of his works is dense with symbols expressed through a solid form with plentiful details.
In Di Bernardo, drawing is the basis of an intricate system in which mysticism, philosophy and science are told through sophisticated symbologies and references to another reality, sometimes intelligible and yet mysterious.
Fuoco, Innesco: cacciata dall’Eden is a project expressly designed for the rooms of the gallery, and is configured through three steps of a single chapter which, as the title suggests, focuses on the element of fire and its ignition, i.e. the symbol of the beginning, starting from a quote that concerns the moment immediately following the Original Sin.
The rooms of the gallery are divided into three different moments: the past, the present and the future.
A large drawing is found in the first room, a horizontal piece featuring a key, an element that runs through history, and which has an important symbolic value linked to the achievement of an end. The function of the key is not immediately revealed. It is too large a key to open the object placed in front of it, a Soviet stove that houses a small representation of a swan inside, a sort of jewel casket containing a message that insists on mystery and enigma. Following there is a large tree rise upwards, to then fold back onto itself.
In an other room features the Scorticata [The Flayed], a Junoesque Germanic figure that the artist makes to correspond to the Expulsion from Eden, the moment of eviction that changed us, that made us different from the past. The Scorticata is the symbol of the present times: a woman whose body has been tortured, and it is precisely in this being that the sense of sin lives.
On a shelf we find a series of Tarots. They represent the future. But they do it through delirium, through a sometimes manic, marked design in which sign and word alternate or overlap. The plot of these works is extremely intricate, and it is only through careful and meticulous observation that overlapping and complex meanings are unraveled.
The exhibition ends with an artist’s book that comes in the form of a fictional find: the text – printed in movable type – is superimposed on its own theoretical content with notes, scribbles, corrections, criticism and insults.
The observation of Luca Gioacchino Di Bernardo’s drawing leads us to a very typified visual dimension, sometimes chaotic yet deriving from a “precise intentionality.” Nevertheless, the significant element, so strictly aimed at the divine, to a situation beyond reality seems to overturn the logic of meaning, so that the representation appears to paraphrase a concept that Franco Battiato evoked already in the Eighties, the idea of Essere un'immagine divina di questa realtà [Being a divine image of this reality], generating a precise coincidence between signified and signifier: the chaos of the images discloses itself slowly and reveals itself in a thousand suggestions.