A selection of works from the artist's Milanese atelier provide an all-round perspective on the most recent works by Gianni Moretti (Perugia, 1978).

His research starts far away, and has its roots in the analysis of the body and in ancient techniques - paper, pigments, scraps – which are gradually gaining perspective and assuming a wider range of meanings. In Moretti's artistic practice, the analysis is aimed at the indefinable – his works originate from the reality of perception and aspire to be much more than what they appear.

Moretti works on invisibility and resemblance in his pounced drawings on mulberry paper, I tuffatori. Here, the transfer of pigments to the paper produces a poetic reproduction of reality, which results from a perception centred on what is left.

Moretti's obstinacy is entrusted to the interpretation of an observer who moves all around the work, and it is mirrored by the impression that the work itself wavers vertiginously if we look at it without any interruption. This substantial quality lies in the actual premise behind his art, in his being the Hegelian “perceptible shadow” which goes beyond the mere image, producing much more than retinal or filmic material.
The autonomy of representation of this young artist abides by his obsession with a cross-eyed vision, with a new and asymmetric order, with cultural canons that he dilates through his own imaginative space, struggling to assert himself with an evolutionary power which entitles him to number among the most promising and stimulating artists on the Italian contemporary scene.