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The work belongs to the Ominids cycle, the series in which Cecconello has for decades explored the human figure as an archetypal presence rather than a narrative subject. Segnaletica brings this cycle to a new level of density: the pictorial field does not serve as a backdrop to the figure, but rather generates it through contrast.
A dark silhouette occupies the vertical axis of the composition, emerging from a layered fabric of geometric signs—overlapping… rectangles, crosses, circles, arrows, and incisions that crisscross the surface like a script predating language. The material is physically constructed: reliefs, drips, and pigment worked repeatedly in a palette ranging from earthy red, ochre, and deep black.
The figure does not inhabit space: it undergoes and transcends it. The signs surrounding it—geometric, serial, almost codified—evoke a system of meaning that man traverses without deciphering.
Gastone Cecconello (Vercelli, 1942) is an Italian artist with over fifty years of activity. His research develops through painting, sculpture, and mixed media, constructing a coherent and recognizable language based on symbolism, matter, and the figure of the hominid as a metaphor for the human condition. His work explores the relationship between the archaic and the contemporary, between memory, myth, and everyday reality, maintaining a constant tension between formal rigor and expressive force. In 2013, the monograph Alle origini del mito, edited by Lorella Giudici, was published, critically retracing the artist's entire career.