Galleria Michela Rizzo is pleased to present Aere. Practices of Approach, the first solo exhibition of the artist Ludovico Bomben, which opens on Wednesday, December 4 at 6:00 PM in the Mestre space.

In Ludovico Bomben’s research, the various declinations of the terms space, environment, and measure take on ever-different functions and values. What unites them is the precise intention to relate them through a mark, a finish, or by means of light.
It is in this area of necessity—between delimiting a space or juggling its immeasurable value—that Ludovico raises in relief on paper perspectival forms in which it is difficult to orient oneself.
Landscapes as vast in the mind as they are excessively complete in form and relief.

The Carte con passaggio perhaps appear as an untouchable terrain until grazing light scores their surface. And perhaps this is the method to which the practice of approach refers: conceiving within the two-dimensionality of the paper the thresholds of spaces, where the paper becomes surface and light becomes mark.

So too one might reflect on the more recognizable works—only as subject—Le nuvole (The Clouds). Also in this series of works, there is an element that appears extraneous (a gash, already present in other works by Bomben) placed at the center of the photograph.
It physically pierces both the image and the surface of the work. Detached from reality, exaggeratedly disproportionate in shape, size, and material to what the image conveys, the gash—or the black, round obsidian stone—breaks through the impalpable atmosphere, overturning its perception.

In the cycle of Notturni, skies covered with clouds allow glimpses of black spheres, small particles floating in an apparently infinite space, revealing a connection between macrocosm and microcosm. Letting ourselves be carried by those particles, we can navigate the darkness, certain of our primordial bond with nature.

Whether object or light he chooses, Bomben’s gesture invades the impalpable and elusive aere and reveals a reality that is not random but objective, which becomes sculpture, bas-relief, composition. The celestial spaces thus generated are portions of contained and safe environments.

The light interventions—such as the fabric in the background of the gallery and the chromatic light variations of the structure itself—are the most emblematic signature of Ludovico Bomben’s work. He intends to manage the entire space as a single work in which the artworks can be experienced as intelligible spaces, which can be understood and brought closer to us.