Emilio Vedova, Tondi e Oltre

The appearance of the tondo … introduces a principle of higher order into the disorder, and in it the surprise of disconnectedness and effort finds a unifying envelope… The circle is the principle of perfection; it contains all hierarchies, all eras, and thus can accept all the activities and dynamic inclusions of material and immaterial life.

The tondo has asserted itself as a principle of visual and spatial energy, both iconic and anti-iconic, aristocratic and popular, human and industrial, sacred and profane. It is a cosmos of the composite co-habitation of forces and forms, colors and lines.

Germano Celant

... from this fluid –, from this prohibitive "historical" emanation,
implicit in the form-circle, for codified appointments ...,
the challenge – to recover it for a possible dimension
of "other" feeling ...
territory of transit, mobile fragment, risky...

Tondo ’87 - 3, 1987
acrylic paint, paper, pastel
and sand on canvas
∅ 280 cm

… 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 thebeyond does not mean the annulment of the boundary…, it contains it within itself.

Oltre ’86, 1986
acrylic paint on canvas
110 × 110 cm

Oltre ’86, 1986
acrylic paint on canvas
125 × 125 cm

And the “oltre”?…
That no-man's-land – gray…
circle/square, square/circle
in the thread of the separated ambiguous conflict…
in the “oltre” the sense of the impregnable limit,
of "reaching out" beyond…

“Nothing is wiser than the circle”, says Rilke. “The ring is rich because of its circularity”. Vedova entrusts some of his most intense moments to the wisdom and richness of the circle. The great sign, vibrant and dripping color, is not the same as in other works… With circles and tondi, in addition to a new discourse on space, Vedova starts a different relationship with painting. The tondo is predisposed, built. It waits, and the gestures, from the first to the last, overlapping and crossing, enveloping and sharp, follow one another in the consciousness of this expectation.

Giovanni Accame

Tondo - VI, 1987
acrylic paint and nitro paint on paper laid down on plexiglass
∅ 43,7 cm

Tondo - 8, 1987
acrylic paint and pastel on paper laid down on plexiglass
∅ 50 cm