The fluctuating properties of the relationship between the whole and its parts have been a constant preoccupation in Federico Lanzi’s work for a long time now. A long series of artistic collaborations —work created by many hands and brains—, educational interventions and community efforts created the first layers of his artistic labor.
His current oeuvre draws away from teamwork and figurative painting in order to explore the logic of series, and when he shed away the ornaments and requirements of fiction implicit in figurative art, the most essential characteristics were elevated: the accumulation of shapes —now abstract— and most of all, seriality as the backbone of a narrative that doesn’t need characters, anthropomorphism or linearity to be understood as such. Curiously enough, when the figurative was kept off the surface, the surface grew. Small formats —such as the transparent nylon bags of his early work— could no longer hold all the parts, nor the complex whole of Lanzi’s paintings, and were transfered to big sheets of transparent acrylic.
These shining sheets reflect the way they were made in their fragmentation. Lanzi generates a form, directing his attention towards it, but also to its parts, and then to each of the parts of its parts; a generative, meditative obsession that adds up an connects. Lanzi’s shapes are whimsical in their composition, but in their relationship with all the other inhabitants of the surface and with the surface itself, they describe a sort of system in which the whole works as a representation of pure correlations.
The compositions are full of figures that float between the elemental and the familiar; are they cells or ghosts? Nuclei or clouds? Lines or limits? In a way, they work as diagrams of the unintelligible: the moment in which non-conceptual thought is achieved in meditation; the quantum particles and their way of being everywhere at the same time; a photograph of tachyon running towards the front of the brain to create a thought, like runners arriving to the finish line. The possible readings are multiplied, and Lanzi’s series with them. They are so many layers and parts that only he knows how to organize.
— GABY CEPEDA, 2016.