In Daniel Callori’s new paintings, a struggle is taking place. His plasmatic shapes threaten to burst their limits and bleed out. His colors are so luminescent, they seem poised to escape the canvas and bathe the environment, overwhelming our eyes. Callori maintains the equilibrium, but just barely. He still lets us sense the excitement and the vitality of the act of painting, along with the risks that come with staying right on the line between form and formlessness. Drawing on all the potentials of oil paint and playing many variations on the simple opposition of figure and ground, Callori creates works of immense, opulent complexity.
Callori draws on the rich tradition of abstraction in Argentina, but, like many great abstract works, these also include reminders of representation. In Sin despedida, something like the night sky can be glimpsed behind the yellow and green biomorphic forms. There’s a black emptiness that recalls photographs of deep space, and the top right-hand quadrant evokes the murky, hellish ether from the background of Bosch’s Last Judgment or Bruegel the Elder’s Triumph of Death. Callori doesn’t depict the sky, but his paintings include depths and colors full of sensual and historical reminiscences. They’re just analogies, but they orient us.
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www.danielcallori.com.ar
Røstad Edwards Fine Art
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