Barley Sugar. Louis Cane

T293 gallery hosts the most recent production of Louis Cane. Female figures playing with an insecticide air-pipe welcome the viewer. They’re both childlike and aerial, joyful and nostalgic. Nevertheless their movements seems to be exhausting, even if the action remain useless, and almost funny.
Use an air-pipe like an aerospace tool is not easy, but more than anything these objects remind us the Cane’s practice as designer. Moreover, these colorful bronze sculptures recall a wunderkammer of human attempts, as well as a metaphorical inventory of everyday failures. Since the 1980s, Cane’s practice was based on the research of signs, recognizable and primitive at same time.
The other rooms reveal two different kind of works. The former are assemblages of several poor materials, the latter are paintings. Those first are part of the latest body of work produced by Cane and they’re all made by resin on stainless wire netting. Several monochromes, framed by open structures, capture and mirror light, in order to stimulate pleasure through colours and brightness. That is a proof of Cane’s life-long research and of his keenness to use unconventional supports in order to shape new possibilities of what a painting can be.
On the other side, some traditional paintings take us in a kingdom of timeless accuracy, with their graceful tones match with more acid smudges. Cleary there is no distinction of high and low culture in Cane’s work, in addition on this occasion the chromatic research becomes basically important and visible.

Leonardo Caldana

Barley Sugar. Louis Cane
T293, Rome
Through February 6