In the 1980s, the language of Emilio Vedova recorded a new creative impetus which resulted in the creation of large canvases born from reflection themes related to the issues that stir the spirit of all of those know how to grasp the anxieties of the moment. The works on paper are part of this path, maintaining an undisputed creative autonomy, and themselves marking a line of close experimentation in the recovery of technical solutions that are different from time to time. Some works, attributable to the "Oltre [Beyond]" cycle, mark this new phase: “in the cycle of Oltre (Beyond), where the vortex of the great wind of the Baroque blasts every architectural form, every centripetal force, enabling to imagine the center’s ubiquity, its radiation to every point-instant of the universe. But the beyond does not mean the annulment of the boundary…, it contains it within itself.” (Massimo Cacciari)
Artist
After joining the Fronte Nuovo delle Arti, Vedova is among the most important exponents of the abstract current of Italian painting, based on the use of gestural painting of great expressive power. Author in 1964 of the Absurdes Berliner Tagebuch, a series of Plurimi exhibited at Documenta Kassel, he links his name to some important pictorial cycles, including De America (1976-1977), Tondi and Oltre (1985-1986) which are flanked by large canvases from the 80s.