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"The seventeen paintings in 'The Adventure of Domenico Gnoli' will induce a kind of perceptual whiplash. They seem static on first approach—enlarged trousers, neckties, torsos, and furniture—but the scale of things is in constant flux."
"Gnoli's paintings lavish a warmth of attention on everyday objects but feel emotionally chilled, almost frigid. At times they seem simpleminded and empty, at others complicated and full."
"One could think of him as René Magritte with a magnifying glass, and without the philosophical jokes, but that's not exactly fair. Gnoli was born in Rome, in 1933."
"By the sixties, when Gnoli was in his prime, Piero Manzoni was stuffing his own shit into cans and blowing his breath into balloons, and Arte Povera was inviting horses into galleries."
Domenico Gnoli's seventeen paintings at Lévy Gorvy Dayan create a perceptual experience that shifts between familiarity and alienation. Everyday objects like shirts and ties are depicted in exaggerated scales, evoking feelings of both warmth and emotional chill. The works challenge categorization, blending elements of Pop, Op, Surrealism, and Photorealism. Gnoli, born in 1933 in Rome, navigated a complex art landscape influenced by historical movements and avant-garde figures, ultimately choosing to present a unique perspective on still-life.
Read at The New Yorker
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