Gli eredi della solitudine

Alessandro Twombly’s painting does not present itself as image, but as field.
A field in which form is not yet resolved, but in the process of becoming:
a threshold where life begins to distinguish itself, without yet having separated.
What emerges is not a completed emotion, but its genesis.
An originary movement in which different forces — organic and mineral, fluid and dense — encounter one
another, brush against one another, at times hold one another in suspension.
To observe these works is to enter a temporality of formation:
not what is, but what is happening.
It is as though matter preserves a memory that precedes form.
A memory belonging to an older mode of feeling, inscribed within the very structure of the living that
exists in all things.
In the sculptures, this process condenses and becomes manifest.
Some forms stretch upward in an unstable verticality, like emergent forces seeking their own limit.
Others gather into forms that evoke mineral presences, as though they were custodians of the memory of
primordial life — almost coral-like outcroppings, traces akin to fossils of a passage:
presences that have passed through life and preserve its silent resonance.
This is not representation, but transition.

–Marco Cestari