2000s_2015s

The new expressive formula in the work of Corbo – chronologically attributable to 2000s- originates from a mutual and continuous exchange that the author faces in the nature of pictorial language, a consideration that follows natural creative inclinations far from the concrete models of reality. The artist practices an eradication of the real image itself, reworking the irrational by a survey conducted at the limit of randomness. And the very essence of reality is the one to captivate the thought of Corbo who translates, through experimentation with materials and gestures, the idea into the form. The works of the early 2000s still suffer the charm of the technique used in the previous years as the large expanses of color mixed to the graphics stylized interventions. Corbo slowly abandons this representative line activating a process of developing and implementing that from the playback reaches the assimilation. The tension to the abstraction, the susceptibility to the synthesis are therefore present at the embryonic stage in the works antecedent the last production and they certify a commitment over time in the definition of a renewed style of composition. Corbo again relies to the color the nodal function of representation, this time setting it free from the ritual of the act, giving to the substance the role of performer. Nature takes on a new dreamy guise and the irrational key shows the vision of unknown worlds, far away. The vibrant metamorphosis of the creation drive the artist to imagine primordial forms of life into perhaps the most disturbing works of his production, works heavy of matter that guide the viewer beyond the two-dimensional perception. And so the Big Bang and the theories of the Universe become the leading actors of an exhibition path that the artist leads over the years successfully. The involvement is undeniable: the eye is carefully taken to watch the bodies of matter applied to the substrate, digs between the layers of color in an attempt to arrive to the origin, to the depth of things. The process (composing and contemplative) becomes slow, thoughtful, expands exponentially, making the experience of viewing almost acted. Corbo’ s language is present and universal, full of spiritual references that we find in the forms and in the symbols of his works, familiar archetypes whose synthesis exaggerates the communication codes.

Silvia Valente