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Presentation of Dadamaino to Dario Zaffaroni
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1976  Presentation of Dadamaino to Dario Zaffaroni Dadamaino for the personal exhibition of Dario Zaffaroni, A.A.L. Legnano - (1973)
It is impossible to analyze Dario Zaffaroni's artistic activity without considering his techno-educational design origin. And in fact Dario Zaffaroni directs his artistic activity towards the field of research on the visual perception of color and as a man who creates art he also participates in collectives that design environments and structures aimed at demonstrating the ecological-existential alienation in cities and campaigns (project “Environnement lumino-cinétique” Paris 1969, as my assistant at “Campo Urbano Como” 1969, “Catchword Potash Mine” in Bad Salzdetfurth in Germany 1971) thus contributing to a work of counter-information using aesthetic-psychological tools. But Zaffaroni's directions focus more on the continuation of the methodological research of chromo-dynamic relationships, of considerable interest, for the verification of those phenomena in which the combination and intersection of fluorescent chromatic elements determine always diversified dynamic values. This new way of combining predetermined chromatic relationships is the positive premise from which Dario Zaffaroni's subsequent artistic experiences and discoveries will develop.
Dadamaino for the personal exhibition of Dario Zaffaroni, “Arte Struktura”, Milano - 1976) Dear Dario, when I presented an exhibition of yours a few years ago, I precisely analyzed your artistic process, now I would like to focus exclusively on the developments. At a certain point in your artistic activity you rationalized your work by choosing a specific field of intervention: the chromatic interaction of fluorescent. You have found a semi-cylindrical module, a simple strip of patterned paper and you have set up the analysis by dissecting all the possible combinations and verifying the results. An in-depth investigation into a specific problem, therefore, setting limits and methodological seriousness. These works, at times extremely pleasant, at others even off-putting due to the chromatic contrast that resulted from them, did not aim to formulate the "beautiful picture", but to demonstrate the multiple possibilities of chromatic interaction on fixed forms, becoming chromo-kinetic. In the constructive structures of your works you did not indulge in doing for the sake of doing, but you based your research on fluorescents in order to make the sensitivity inherent in your nature prevail without undermining the method, because this always governs your choices . Rationality and sensitivity therefore: a positive combination that frees your creativity more, directing it towards new artistic openings. |
