Albino Galvano

LUX MUNDI
Might as well to immediately reject the temptation - real temptation, in a certain way justified to approach these drawings and paintings that proclaim and prepare hedonically their dense Baroque - to pronounce the name of Jung or Creuzer, to facilitate the categorization of crowded emblems: the eagle and the hand, the ear and the jewel, the penultimate mystery of the tarot and the horn of plenty.
Those names will also come up, with relevance, but not without having first found their exact reference to the issue of relationships between a mundane project and a human speech in which we find terms used frequently by Nespolo, like "objectivity" and "ambiguity".
Terms placed in a dialectical relation, and maybe for Nespolo painting is the rigid stillness of the first term with the reversible dynamic of the second term. Reversible we said, because it is more a Husserliana formation rather than a Hegelian one, the concept or the project is indeed always the rejection of a unique direction, called in question of a total proposal, but not necessitated.
So that in extreme the objectivity assumed to the arrival of the carried out work, and the ambiguity is not only of the subject, the object or the project and of the world, but especially of a work that protrudes from the world such as to re-enter like a modifying operation or as a language not expressive, meanings already undertaking but constituting itself in the meaning suggested.

(From the magazine: Issue Quaderni di Studio, 1966)