In terms of theme, the idea is to place side by side and compare images linked to the human condition of loss and alienation in a world continuously shaken by violence and beauty, hope and anguish. If everything in these paintings seems to exist on a purely visual level, the re-acquisition of depth of field and capacity of interpretation must be intended also metaphorically and as such acquire importance of much wider scope. A dream, perhaps.
The selection of paintings represents the stylistic variety of an artist who has been working towards a systematic verification of the genres traditionally associated with the medium (still life, landscape, historical, etc.). His conceptual approach to painting goes hand in hand with comparison to the higher standards of the “craft”. The reticulate of spray on the wall underlines the multilayered approach to painting, which beyond being a traditional medium means for the artist a system of gestures made virtually by different authors in different times. Last not least, the grid reminds us more of a cage or an iron grating than of the modernist conceptual tool addressed by Rosalind Krauss in her famous essay.
Luca Bertolo’s paintings testify to a variegated and often contradictory range of styles and interests. If there is anything stylistically consistent about Bertolo’s work, it is the sense of experimentation that motivates it. This is because he is a restless painter. Not content to alight upon a given motif, genre or preoccupation, Bertolo seems determined to defend his right to continually differ from himself.