Oh, the range! This is what crossed my mind after seeing the first two pieces by Leo Frontini that are now on view at Private Waters Gallery in Venice. The exhibition, curated by Amah-Rose Abrams, stopped me in my tracks as I I started noticing the depth of the imagery and range of qualities which permeated both the paintings and the white Italian marble sculptures!
And while I enjoyed the strange, eerie atmosphere of these images, the best part was the ease and the expression with which these seem to be rendered (and carved). Flowing and fairly loose, each gesture and mark seem to never miss a beat on making things appear as intense and as real as possible. As such, they equally successfully denote sparse elements in the poorly lit, barren backgrounds, define the gnome-like phantasmagorical creatures, or render highly polished fabrics or object in the foreground. This buildup of different layers, comes together in fairy tale-like, mythical, or fever-dream-like atmosphere. And while I’m personally always more fond of simpler compositions and a single punchline visuals, the way Frontini blends the Bosch or Dali-like creatures or environments w a more classical, chiarroscuro or mannerist setup, makes these paintings a real treat to explore.
Basked in intense, theatrical light (and the way Frontini constructs and captures feels so masterful), the scenes are infused with real, suspended tension. As if taking place during a peak of an orchestral crescendo, there is an imminent resolution coming after what we’re observing. Just, we never get to experience that. Whether it’s figures dancing tirelessly in circles outdoors, being immersed in creative process on a sewing machine, plucking sea urchin needles out of their fingers, or taking care of supernatural creatures, what we’re seeing is the a struggle, conflict, or intense effort. And what comes after it, are the Yields of Fray. —Saša Bogojev
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