In Francesco Spampinato’s painting compositions there is something familiar as well as surprising at the same time: the spatial dynamic reminds us of the baroque triumphs prefigured by Correggio, but it comes as a surprise that this spatiality, lysergic beyond liturgical, turns into a mental panorama, as if the celestial vault ends with reflecting itself, microscopically, onto the cavity of the skullcap. If, as Gilles Deleuze suggests, the characteristic of the space is to open itself onto the interior, this dome’s allow-like space widens here into the turbulences of an infinite that pushes into the mind’s rooms or through the “folds of the soul”: cells and halos, globules and glomerules, a whole phosphoric and phosphenic vegetation made of parabolic filaments, fragments of spiral and helicoidal segments, compounds the details of a deflagrated and nevertheless smooth matter, clean graph of a neuronal discharge, of a skirmish between enzymes.
Wölfflin, among the requirements of the baroque universe, included the fluid aspect: well, these brainframes by Spampinato, even though they are extremely complicated and crystallinely detailed, never loose their flowing disruptiveness. As one of his works’ title suggests, Chilly Bang, we are in front of frozen explosions, due to, we could say, a cerebral superheating: here we have then the looming of the hidden filigree of hallucination, the stenography of the accelerated perception, the dromoscopy of a neo-baroque imaginary which digress into the cybernetic immaterial.
The pictorial results are reached through surgery of blocks out and strategy of perimeters: the dynamic texture of the peinture is all entrusted to the interaction of lines, in a friction of compact surface where everything resonates and nothing vanishes, where the dissolution and the proliferation nuclearize themselves into closed chromatic islands under the urge of a furor mathematicum which looks here to connect chance to necessity. (Alberto Mugnaini)