Dropouts and Fluids
APPROPRIATE, AMASS, ACCRUE. These directives among others sweep in downwardcanted textual runnels interpolated across Matteo Callegari’s oil-on-canvas painting amass (all works 2018). Unmoored signifiers in this hard-cropped, self-reflexive rendering of the constitutive material basis of painting itself – a half-sealed tube branded as Old Holland’s singularly bilious yellow green palmed in the painter’s hand – invoke an anxious shuttling between the unspooling, quasi-synchronous axes of Callegari’s elected disciplinary matrix: painting-as-medium and painting as code to the transverse consumptions and disbursements of cultural artifactuality. The tube, meanwhile, is dubiously labeled.