Romberg presents Pablo Candiloro, an Argentinian artist in his first personal exhibition.

Clearing up the scenic space.
Eliminating what is superfluous in order to redefine what is necessary.
Reasoning in the void. Beyond the void.
Drawing movement while being still. Onto the painting.

Pablo Candiloro observes himself and listens, he reflects on himself as if he were a volume of biology carrying out minimal yet methodical actions, simple yet at the same time universal. His scenic space chooses frontal shots which have the literary simplicity of Raymond Carver and the metaphysical density of Giorgio Morandi. The backdrops are obviously monochrome, so as to transform the artist into a Brechtian character, in the centre of a handbook of gestures with which to elaborate everyday domestic actions. Eating, drinking, reasoning, observing, meditating, and breathing…the essential layout of life according to the slow and well-ordered movement of painting, here reduced in format so as not to disperse the compressed energy of the gesture, of the object, of the interaction, of the connection.

Pablo Candiloro is Argentinian and carries with him a unique personal history, out of the ordinary, full of surprises which he does not reveal but offers as an intuitive layout. His expressive nature unites the various paintings and transforms them into a magnificent private obsession, where his discipline emerges from the semiotics of the gesture, from his dry and complicated way of carrying out minimal actions. Everything is amalgamated synthesis, pictorial agonism without waste, anomalous light which comes from private worlds.

The compositional quality of the pictorial brushstroke, the tonal modulations, the identity of the style in the representation. Candiloro paints in geometric blocks, as if each element were a tonal pixel which harmonizes into everything, to the point of immersing the scene into a deep yet limpid silence, between atmospheric caresses and suspended mobility. If a Morandian inheritance exists it has found its place among Candiloro’s personal natures, among his glasses, cups and bottles which vibrate in chromatic harmony and austere disposition, like a compact force which tends towards gravitational union. The shapes do not float, they flutter around and then arrange themselves onto united blocks, becoming the narrative prosthesis which recounts fears, obsessions and rhythms…

The Argentinian artist, Italian by adoption and vision, is like a mime artist who uses the scenic magic of the face and the physical support of elastic arms. He orchestrates his objects on the table, he draws imaginary trajectories and he follows the mental trails which each object stimulates. Candiloro presents us with the abstract amplitude of a small, private world, experienced with the elegant irony of interpreters, to the point where he becomes an anomalous performer who reflects himself while he experiments with simplicity.

Ironic in his manner, elegant in his style, intuitive in his construction of paintings, original in his way of painting … he calls to mind Alighiero Boetti when he played with paper, the letters of the alphabet, numbers, model airplanes and other small everyday things … Candiloro seems to want to converse with Boetti, that brushstroke seems like the weaving of a tapestry, it draws light onto the grey backdrops of certain maps or of the same checkerboard alphabets. An esthetic act which has metabolized the bond of profound esteem, bringing Candiloro’s work into autonomous territory, into its own conceptual depth, in the game of semiotic mirrors where action is transformed into image.