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| 1974–May 1976: The obstacles |
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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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