EDOARDO KRUMM 

To ask someone to write a presentation without any in-depth, continuous relationship with whom writes about painting seems a bit pointless. That is why I prefer to say a few things myself, although I hope that my works themselves will do most of the talking.

The paintings are many and represent thirty years of work. The biggest problem is to maintain a common thread despite the diversity of the periods in question.

Part of my production is now elsewhere, sold, thus forming gaps in my body of work which I would prefer to show complete. 

It is hard to choose from a work produced over the years: my affection for certain paintings, insecurity about some and exclusion of others create problems. 

It is almost as though the artistic movements that most impressed me have created inner solicitations, and I have cultivated these, wanting to broaden my understanding of the world of painting through each different manifestation.

Yet, there are points of fascination to which I always return and which make my periods not so much a progressive sequence, yet a sort of rocking backwards and forwards exploring future possibilities without renouncing the past.  

Forwards: the freedom to act, unfettered by realism, engaging in different and contradictory experiences.

Backwards: to stay close to a starting point that supports my own relationship with painting, and with the figurative tradition in which I have always found balance and the chance to re-launch in my work.

I would wish that the diversity of these periods does not confuse, but rather makes it possible to see how someone (i.e. me) has moved in certain fields of contemporary art. While I do not have any specific preference, in each period there is an attempt - and a need - to turn the various moments into something that I can truly own.

My use of a variety of materials responds to this need, my desire to find a way of reflecting my true self. Violent colors, nuances and different spatial divisions are all different passages, but I do not consider these to be conflicting.

It seems to me that it should be possible to move as freely as one can and just as one feels among such a variety of things, the obvious result of a refined pictorial sensitivity and desire to investigate and learn.

Edoardo Krumm