When someone thinks of contemporary art, probably Fontana is the first artist that come to mind (at least this happens with every italian). This is because Lucio Fontana’s works are at the same time so similar and so different to a classic work of art, that it is not comprehensible at a first sight. Probably you are all thinking: “I could have done that!”, but the truth is that it has a more deep meaning, keep reading and discover it with us!
The work we are analyzing is a painting, painted on a normal canvas, with normal dimensions. It is a monochrome, as there were before. But it is cutted in the middle! This was what we meant telling you that it is so similar (normal support, normal dimensions, normal technique), but at the same time so different from a “normal” painting.
Fontana view the canvas as a material to play with, treating the painting almost as a sculpure. He started going beyond the canvas with the Holes (Buchi): making real holes into the canvas. It was not enough: he changed the form of the holes into cuts. He was trying to exit the limits of the canvas, making it tridimensional. We suppose that beyond the canvas there is something else, that there is a parallel world still to discover. He called the cuts “waitings”, as if the observer should expect something to come out of them. With those cuts in the paintings, he created a whole new reality in which we can be lost and dishoriented. This caused a real Stendhal’s Syndrome to some people!
In other words, the process that Fontana uses for his paintings is to find the limit of what he is doing, and to overcome them. In the case of the canvas it was the bidimension of a plain rectangle.
In the same years the television was becoming popular: it’s easy to imagine how strage it should have been to look at a bidimensional monitor and to see something tridimensional! From there it comes this painting.
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