PRATO, Italy — Earlier this yr, one thing drew me again to the diaries of Anaïs Nin. I’d learn a number of volumes many years in the past. Tracing the French-American writer’s libertine, literary life in Paris and New York beginning within the early 1930s, these had been particularly fashionable after the steamy movie adaptation of an early diary, Henry and June, got here out in 1990. Rereading them, I’m once more drawn into Nin’s beautiful prose, her lush descriptions of place, her erotic yearnings as World War II encroaches on Paris. Now as ever, her confessions reveal a mess of needs.
One will get to considering: In at this time’s algorithm-driven, swipe-left-or-right world (or, for that matter, in an artwork world steeped within the cerebral) what has grow to be of embodied eroticism, of need, of looking for and celebrating magnificence, of intimate vulnerability, or weak intimacy? Who nonetheless finds poetry and pleasure within the sight of fallen petals, or in daylight on pores and skin? Louis Fratino’s Satura, the artist’s first-ever institutional present, on view on the Centro Pecci, assured me that somebody nonetheless does.
The present’s practically 70 works — many figurative work, a sequence of lithographs, three frieze-like sculptures, and a smattering of the artist’s sketchbooks — are, collectively, as wealthy as a retrospective (even when such a factor could be untimely: Fratino is simply 31). They are additionally rife with expressions of on a regular basis tenderness. Some of the depicted situations are overtly homoerotic, others are abnormal scenes made extraordinary of their daring colours, compositions, and methods that lean on artwork historic greats like Chagall, Picasso, even Alice Neel, but additionally consult with Italian 20th-century artists like Filippo De Pisis. Like Nin’s writings, the work are a diary of visible vignettes from Fratino’s personal life rendered from reminiscence and populated by his buddies, household, and lovers. A handful of works depict explicitly sexual scenes, however these are by no means gratuitous — they somewhat provide glimpses right into a wealthy emotional register below the thirst-trap aesthetic we’ve come to affiliate with modern homosexual male visible tradition.
Many items replicate intimate moments between lovers (invariably younger, taut, dark-haired, and heavy-browed, some recognizably Fratino himself); others enjoy quotidian pleasures. In “Four Poster Bed” (2021), two nude males sleep in a shower of gentle on the titular mattress, sprawled over one another in an intriguing material of sheets. There are wilted hydrangeas in a kitchen sink (“Hydrangea aspera, kitchen sink,” 2024), a reclining nude lover close to a messy desk (2022’s “You and your things” — Fratino’s many post-meal tables are much less memento mori than proof of enjoyment and satiety). The canvases are dense with references to cinema and literature: tucked inside the nonetheless lifes, for instance, are the covers of books by 20th-century Italian queer writers together with Sandro Penna and Mario Miele. In tiny clues throughout many work, the artist outs himself as an avid reader, and it was intriguing to be taught that he, an Italian-American raised in Maryland, not too long ago discovered the language of his forbears and has steeped himself in 20th-century Italian tradition.
Offsetting the depicted home moments are research of extra communal joys: There’s a riotous gaggle of googly-eyed blue fish in a market (“Fish market,” 2020), and dreamy blue seascapes by day and evening (“Last swim of the season” and “Moon over the Gulf of Genoa,” each 2020). In“YMCA” (2023), a bunch of nude males bathe collectively in a steamy room whose overlapping planes echo early Cubism; and in “Arci Bellezza” (2023), the title referring to a well-liked homosexual membership in Milan, the tightly packed dancers are a rhythm of vertical strains and deep impartial and blue hues.
Centro Pecci, a dynamic modern artwork establishment in Prato, a Tuscan metropolis centered across the Italian textile business, has devoted an elongated corridor to Satura. The title refers to each a banquet platter and to the Italian phrase saturo — “sated” or “saturated,” each of which apply to the works on view right here. Curator Stefano Collicelli Cagol opens with two early, very small works (one of them the tiny “Blowjob and Moon,”2019) after which, just a few steps additional, seven mesmerizing lithographs depicting nude {couples} or flowers in stark distinction. But in any other case he has organized the works on unfastened visible affinities somewhat than chronology, format, scale, or narrative, permitting viewers to meander and make their very own connections — and contemplating the density of Fratino’s scenes, this isn’t at all times a straightforward job. I discovered it extra compelling to dive into particular person works, at far and shut vary, to soak up their many references, and to ponder their formal complexities. These work are deliciously tactile, and considered up shut, the brushwork and paint utility is nearly topographical — some surfaces are hatched with deep parallel scratches, and the physique hair of Fratino’s topics is typically etched in, or seems as drawn- or painted-on squiggles.
On the opening days, once I talked to Fratino about Nin’s seek for that means, depth, and the sensual in equally tense instances practically 100 years in the past, the artist talked about the significance of constructing “a beautiful life.” His easy assertion has caught with me: Are these works maybe half of a longing in not solely the artist however many of us to seek for the elegant, to entry the generative energy of the erotic? Fratino’s canvases appear to seize a common and timeless craving. It was fascinating to be taught that he works not from posed fashions however from reminiscence, collaging the recollected fragments of his life right into a sum higher than their components. Focussing on magnificence in an period marked by a lot ugliness, Satura appears like a refined act of resistance.
Louis Fratino: Satura continues at Centro Pecci (Viale della Repubblica 277, Prato, Italy) by February 2, 2025. The exhibition was curated by Stefano Collicelli Cagol.
Editor’s Note: Some journey for the writer was paid for by Centro Pecci.
