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PRINT April 1983

NICOLA’S WAY

LET’S TAKE AS a starting point the metaphor of the voyage. But the voyager, the voyage itself, the destination, and the vehicle are all unique; they are Nicola De Maria. The voyage takes place in a room; his works are the adventure.

His luggage is a suitcase, painted in vivid colors, informing us of what this nomad in the realm of art means to carry with him: a joy of color, evident on the outer surface of the object; and the weight of a remarkable sense of memory presumably contained within. De Maria’s memory is a strange thing: he shuns decipherings and explanations; he doesn’t much like words, preferring what is not said—winks, pauses, suspended moments, large and allusive gestures.

But if words are to be used, it is best to rely on his own poetry—his titles, which are often incorporated in his works, and are capable of many interpretations. De Maria gives us the key to enter his world;

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