New York

Lucio Pozzi

Like Novros, Lucio Pozziorganizes his work around the circularity of comparison. One to one and one to two and back again to one to one. However, in his work the act of relating is explicitly transferred to the viewer instead of remaining contingent on the interior dynamics of the painting. In his recent show, Pozzi exhibited two sets of paintings—A Double and Z Double—hung directly opposite each other on two sides of the gallery. Each set contrasted two equal panels, both painted gray. On one a vertical line was scraped out by a pencil from a horizontally brushed background; on the other a horizontal line was drawn into vertical strokes. This mirroring of relationships was extended as the two sets reflected each other across the room. The left panel flipped over to the right and the right to left, as the images reversed themselves on the opposing walls. The reading of these inversions and the progression from one to two becomes dependent on the viewer and the viewing situation. Physically the canvases are separate. It is the viewer who provides the necessary perceptual link. While conceptually the possibility of relationships is given in what Pozzi calls the “programming” of the works, the idea is only realized as fact in the act of perception. The internal exists as a function of the external as the emphasis shifts from what is given on the surface to what is given in one’s perception of it.

Susan Heinemann