Although the noise of daily urgencies has somewhat altered the words making them seem almost more due than heard, to remember the disappearance of Lucio Del Pezzo on Easter Sunday, to retrace his artistic career, to recall how much and how he gave art, for 60 years and beyond, they thought about it, more than the all the same short stories of some newspaper, the galleries with which he worked and critics who followed his work.
We like to pay him a tribute a little out of the more institutional profiles thanks to an unpublished portrait that the photographer Gianni Ummarino, also like Del Neapolitan Del Piolo who settled in Milan, made him in 1971, in Paris, where the artist had moved since 1965.
Scena: an old building, now demolished, a few steps from the Center Pompidou then under construction. “The apartment, which also served as a studio, where Lucio lived,” recalls Ummarino, “had been left to him by Enrico Baj which, in turn, had “inherited” it from Max Ernst».
Seen with today’s eyes, fifty years later, the shots evoke a particular atmospheric cocktail, a mix of echoes late bohemian, rings from a bright palette pop and, in the background, something that alchemical metaphysics typical of Del Pezzo’s work. «Walking around the house between the works under construction and the furnishings I realized that in fact it was metaphysics that held the balance; and the “great metaphysician” was Lucius. It seemed always on the verge of moving to another space-time dimension. Maybe also because the soundtrack that filled the house were the Pink Floyd songs of “Ummagumma” and “Atom Heart Mother” of which Lucio was a big fan.
Only manual labor, the concreteness of nails and hammer they kept it, like a ballast, with your feet on this earth. Lucius was a poet who abandoned speeches to bend over brushes, the thousand shapes he inserted into his filing cabinets and squeezed them, so as not to fly away, relieved by the breeze of another inspiration “.