A painting way against the belly of a country
The artist's style is abstract and informal, with works that refer to clearly identifiable figurative topics with which the painting is linked in a hypotactic way, sometimes as a linguistic metaphor, or with ambiguous analogy.
The 'Field' for example refers to places of imprisonment and genocide or alternatively to postmodern citations of pictorial passages from the history of art. Not a simple d'après, common to many artists such as Picasso for example, but a political practice against the culture of realism and description put into play by empty actuality. Many topics are covered: from historical events to personal memories through original pictorial interpretations. In some cases, is astonishing the approach to paintings or artists from history such as Monet (Memory of an exhibition by Monet, oil on canvas, 2021) in which he transfigures - as happens in literary works -reality not through 'description', but with shapes and colors, often in open antithesis with the obvious analogies to the model produced by the fetishism of mass culture, devoid of the 'synaesthesia' with which the great artists work instead. Thus some weeds at the borders of the road become an 'Apologia for weeds' or a scribble will be discovered both of the 'Sacred Straw' perhaps referring to the straw mattress of the manger of the Greccio nativity scene. So the title is restored centrality in the work, as happens in contemporary art. All in the admiration of a restless and lyrical gestures at the same time, such that Tedeschini's painting turns out to be an autobiographical document that tears the present with its own experience without dwelling on academicism and the obsolescent stylistic labels that would distance his work from his true sense. Is this a great artist? Surely one who does not like the immediate comprehensibility of common realism that often rhymes with the 'belly' of a country whose history reminds us of something.