The obstacles
1974–May 1976: The obstacles
The countryside is full of fences. In spring on the hills around Tarcento one can see long rows of white poles made of cement, which are used to support the vines. At the beginning of the season, when the leaves are just starting to bud, the spectacle seen through unaccustomed eyes leaves the artist dumb–founded, uneasy and suspended: nature just spattered with green fluff, looks like mortified.
The idea of the Obstacles is born: fences but also barriers against man’s assault, they are rigid or snake–like, preferably large–size. In short, the initial poles get mixed up with the tree trunks and crossing over each other they become enormous. They are a symbol of the offence man suffers through and together with nature. In the small size, the obstacles soften and make one think of the lyricism hidden in numbers. In the story of Lucatello’s paintings, the Obstacles are definitely one of the most important moments of conceptual transposition.



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