'Complementari' by Veronica Montanino is a reflection on the multiplicity of states of existence, which starts from duality. Overturning the perspective of the oppositions - which in the history of thought from Anaximander to Hegel, places the indispensability of two terms, but in a "negative" sense, given by two different poles in reciprocal tension - Montanino emphasises the positive vision of a complex existence, which is given through coexistence and cohabitation.
The exhibition of the artist conceived for the Andrea Ingenito Gallery in Milan, curated by Simona Caramia, offers a personal and exquisitely feminine interpretation of the harmonious interconnection of the Complementaries, the silent theme of a previous permanent environmental work carried out by Montanino at the MARCA Museum, as part of the Ceilings project, promoted by the Accademia di Belle Arti of Catanzaro, under the artistic direction of the same Caramia.
In the spaces of the Ingenito Gallery more cycles of works will be presented, some unpublished, different in terms of supports and techniques, marked by the apparent red-green chromatic duality, defined as complementary colors.
Red in nature is a visual alarm, which attracts or repels: directly linked to the survival of species, it is the emblem of the mechanism of fertility and genesis. Red is a break-in. It has a time. It is probably an occurrence. It is the color of flesh, blood, fire, lava. It evokes the body and the ardor, the warmth, the sensuality. But also, it recalls destructive power, violence. In red there is energy, power, dynamism. Green represents the dominion of nature: it is duration, cycle, it contains the image of perpetuation, of regeneration in the process of birth, luxuriant growth, germination in a constant, unfinished time. Green is the continuity of life, because it brings with it the idea and the image of contamination, of hybridism.
Expanding immediately the visual perspective, Veronica Montanino disavows the red-green dichotomy, showing how her works contemplate in themselves a plurality of nuances, which from the tones of infinite reds meet and contaminate with the tones of infinite greens, returning the dimension of the real and at the same time the germinating power of art.