The exhibition offers an in-depth look at the artist’s research, highlighting a group of works in which painting, sculpture and drawing meet in a deliberately hybrid territory. At the heart of D’Anteo’s exhibition path is Alfabeto ad Olio, a series of paintings on small canvases created during the period of forced seclusion linked to the pandemic. In that suspended time, marked by isolation and by the rarefaction of contact with the outside world, D’Anteo focuses his attention on an essential and original subject: the alphabet.

Letters thus become the starting point for a free pictorial interpretation, in which each alphabetic sign takes shape through objects, figures, fragments and suggestions drawn from a personal, domestic, grotesque and at times unsettling imaginary.

The exhibition path presents a selection of works that move vertically through the spaces of the CAMeC, from the entrance corridor to the Project Room, suggesting a close and concentrated reading of the artist’s work. This is not an extensive exhibition in quantitative terms, but rather a focus conceived to precisely convey some of the fundamental tensions in his research: the relationship between painting and object, between surface and volume, between creative impulse and iconographic memory.

In the case of Alfabeto ad Olio, the pandemic is not merely a chronological backdrop, but a condition that affects the very genesis of the works. The dilation of time, isolation and the lack of external subjects lead the artist to turn to a primary form of organising the world: the alphabet. Yet, instead of proposing an ordered and reassuring code, D’Anteo offers a visionary rewriting of it, in which each letter seems charged with omens, memories and tensions.

A personal and recognisable language

QUASI PICTURAE therefore offers a close look at the research of Lorenzo D’Anteo, an artist who works on the threshold between different media without resolving their contradictions. Painting, sculpture and drawing coexist as autonomous yet interdependent practices, giving rise to a personal, layered and recognisable language.

The exhibition invites the public to enter a universe in which images cannot be reduced to a single category. They are paintings, but also almost objects; they are letters, but also figures; they are fragments of an alphabet, but also symbolic and narrative presences. In this space of ambiguity, D’Anteo’s work finds its strength: in the ability to transform materials, signs and suggestions into an imaginary that is at once ironic, visionary and profoundly contemporary.