Giorgio Cortenova
The laboratory of Art

in “La scienza dell'arte”
Bevilacqua La Masa
catalogue of the exhibition
Venice, 1986
 

Maurizio Pellegrin’s “laboratory” is predisposed to retrace the incisiveness of the mark in the moment in which it appears as significant value.
Time removed as historic codification, Pellegrin resets surfaces in the surrounding totality of memory and vibrates a trace that is “lit” on the surface, or rather the imprints of an improbable stain or the allusion of a space.
His large “chalkboards” are surfaces of the Ego, where the mark blossoms beyond history, as live testimonies of an everyday experience and together, magical.
The lyricism springs forth from Pellegrin’s canvases according to an edge that privileges the space.