In his show, titled “Burnt Fields”, Matteo Fuzzi presents one of his large scale canvases alongside some of his smaller works on board and paper. The artist reportedly draws his visual vocabulary from the post-harvest burning of the fields in the Italian countryside. The cleansing of lands from unwanted biomass, an ancient effort to reproduce the regenerating effects of naturally occurring wild fires, requires a human instigator and tamer. How do you burn your field but not the village? How do you sand the painted surface to the limits of the canvas without eliminating the artwork? These references to the purified residue of combustion suggest a parallel with the artist’s process. Regardless to these implied limits of control and dependence on processes , the work is robustly reined to take on some fundamental issues of not only painting, but also the wider practise of making original entities, commonly referred to as art. In the text accompanying the exhibition, George Eynaud points to these paths of inquiry sufficiently enough to make any further analysis flirt with redundancy. Admittedly, Matteo Fuzzi’s dark canvas invokes the sublime, resident on the fuzzy borders of landscape and abstraction, but also raises the issues of scale and the limits of the medium.
Proof that enlightening experiences do not require institutional umbrellas, Matteo Fuzzi’s “Burnt Fields” is on show until Monday 21st of March in the Backroom Gallery at Peckham, Holdrons Arcade, 135A Rye Lane, SE15 4ST
By Thomas Apostolou