” […] The big uniform layers of rolled color that overwrite the preexisting image – as does the melted polish – transform the canvas into an open space, full of possibilities where nothing seems to undermine the circumstances of change. De Prezzo rethink the relation between space and dimension and raises questions on the dynamics of the fruition of art, giving them a new interpretation. His gesture is quiet and silent, transforming the eloquence of the reproduced object into a link between concealment and manifestation. It runs from painting emphasis and quests for a natural conclusion in the absence of noise, which – in fact – hides by unveiling. And by doing this, it finally invites the observer into a silent complicity.”
De Prezzo whitens the canvas just as one would a wall of a room. Once again we find ourselves facing a muraille de peinture that wants to erase the image, giving back to the canvas its pristine colour, that background white which had been violated by the pictorial gesture. In Frenhofer’s masterpiece a small anatomic shred still survived, the only evidence of his manic refining work. In the same way we are forced to rely on the very few details still untouched by the wheeling (pitiless, more than furious) of the roller to be able to [re] acknowledge the objects painted by Francesco De Prezzo. In a last analysis, we must agree that his meta-pictorial experience accepts Nietzsche’s philosophy, thus proving that creative tension can be explained by a hidden desire for destruction. These repainted paintings possess such ambiguity/ ambivalence that we are invited to consider the extermination of images as a way of material and conceptual regeneration.