Verde 

Editor: Here we have "Verde" by Agostino Bonalumi, who worked with mixed media, including acrylic. I find the monochromatic color scheme both soothing and a little unsettling. What elements stand out to you the most when you view it? Curator: The manipulation of the canvas is of primary interest. Bonalumi’s approach goes beyond simply applying pigment to a surface. We see a deliberate altering of the material, creating a tension between the two-dimensional plane and three-dimensional form. Editor: So you're drawn to the formal qualities of the piece, rather than any narrative it might suggest? Curator: Precisely. The very title, "Verde," signals an engagement with color as a core element, devoid of explicit external referents. What do you observe in the tonality itself? Editor: It's green, yes, but with subtle variations – some areas appear more matte, others reflect the light differently depending on how the canvas is stretched, suggesting form and shadow within the greenness itself. It also has an industrial vibe. Curator: Indeed. That interplay of light and shadow, facilitated by the artist’s intervention with the canvas, introduces complexity. Does the underlying grid suggest an intentional structure for you? Editor: It does. It’s almost as though he is working against it by creating these curves, implying that the painting surface has limitations. It seems that color is a structural device too. Curator: Precisely, the artist is emphasizing the materiality, challenging our notions of painting and sculpture by blurring those boundaries. We witness a self-reflexive gesture toward the fundamental elements of artmaking. What have you discovered today? Editor: That looking beyond the color of "Verde," uncovers a fascinating conversation about art and what we can do with the surface of art. Thanks.