Simone Meneghello carries out an artistic research that leads him to incessantly measure himself with the intellectual and artistic innovations of his contemporary, while always remaining in an apparently secluded position with respect to the most current dynamics. With rigor and discretion the artist conducts his research by recognizing and researching his roots, placed in an idealized world full of bibliographical suggestions. Like an alchemist, Meneghello, using notes, sketches and photographs, tries to transform the primary material, the writing or the authorial source, into revelation. His works are fragments of the body of art, usual in their appearance, contained as they are, in the ancient papers that contain them. They give substance to the imagination, clear and complete in their being, they show how a verb and the act of tracing it on paper make the sound of that perfect art that comes from the word and finds light in the very concept of giving substance to an essence. In the development of this research, he knows how to trace with apparent spontaneity a visual language that is oriented towards the extreme reduction of artistic figuration, obtaining with just a few signs, a radical synthesis of the contents and bringing to the extreme profile the textual content otherwise imbued with redundant suggestions. What remains are ethereal figures, elusive phonemes in a silent world, in a balance that brings with it a powerful and irresistible ascetic force. The minimalism of Simone Meneghello’s creations merges with a style that we could define as naturalistic, in the sense of reduction to the essence of a complex body, they are pieces of a mosaic that describe, in a concise and drastic way, those minute details that remain imprinted only in the deep unconscious of our mind. Fragments of memories that resurface, forgotten places, distant memories that are returned with imagination and as metaphors for more complex thoughts. The typographic character is used as a “universal cipher” freed from its utilitarian purpose but at the same time bound by an imperceptible thread that keeps it tied to its primary use as an emblem of a present that seems to forget the silent elegance of the printed word but which in reality is an essential element, to give consistency to a dream, substance to an inspiration, form to a necessity.
M. Vanzan and C. Tanchella