The razor blade, the simple object of common use that binds the daily gestures of men and women,
it is used by Marco Angelini as the basic tool of his language, of his artistic research.
The small object is assembled in open, closed, half-open forms according to seriality the printed circuits of electronic cards bring back to the observer's memory: the maximum of human rationality in synthesizing complex operations.
The connections that Angelini proposes are therefore not limited to simple ludus
mathematical; they are, in essence, a step, a working hypothesis that can turn towards what C. Giulio Argan defined: ”an explicit, rigorous and advanced structural analysis ed operations, a process already planned on a mathematical logic methodology. ''
An aesthetic-operational research, that of Angelini, destined to be simple, linear
more and more complex and that spreads with force on the backgrounds of stains that often bring us back to Rocharch.
They are spots that stimulate the observer, which suggest contrasting continents, the derives, in search of an order that can ensnare them.
Here the artist acts by superimposing a process of rationality on the '' contrast ''; is the rationality of human species that elaborates, builds, structures and makes history!
The artist tries to achieve a visual and systematic balance of forms with his works. In fact, he says Arnehaim: '' in terms of perception, the appearance of each element depends on the place and use that it occupies and assumes within the structures considered in its entirety. ''
The razor blades, tools of his work, rest on a past time, gently resting on
signs of history but ready to turn towards new, but always ancient, scenarios.
Angelini on the line of Fontana, is looking for a new and personal conception of space artistic''.
In fact, Lara Vinca Masini says about Fontana's will in the 1946 Blanco manifesto that they '' laid the foundations '' of a space interpreted according to relationships other than that Renaissance, both from the nineteenth century and from the cubo-futurist one, a space that holds that is, I count on the scientific chievements that use physical and phenomenal space as new and more external
ommunication tool, therefore capable of placing even the work of art in one
renewed dimension, in relation to the possibilities offered by the new technical-scientific instruments, that yes propose as additional technical means and activation of creativity also for the artist. ''