In / ES at: shattering in an explosion of energy Sergio Davanzo defines the structure of one of its original code of expression for feelings and emotions.
In / ES at the new event / exhibition Sergio Davanzo, owes its name to an intersection of suggestions and messages relating to the emotional feel and its connection to the act social / socializing to take coffee. Espresso. No coincidence that the first stage of the exhibition is just a bar, You Are You, in Corso del Popolo in Monfalcone, where a selection of paintings In / ES at will from May 15 to July 21, for then moved to Forte dei Marmi, at the initiative proposing Art, 19 to 23 August 2010. 
to inspire the painter this time to reflect on the common phases of their emotions. The will and the act of externalizing declaratory take life by the growing awareness of the need to pull out one after another the pieces of their personality, translating the content in messages. Pulses that should be translated, should be filtered from a common code of feeling, to achieve an objective of sharing and closeness. Davanzo, but intends to analyze the process rather than the feeling itself, deconstructing into phases and steps. 
follows the dark phase of less awareness of what which is the need for openness, gradual, marked by the growing presence of new natural tones and warm, mocha, sometimes irreparably semantic area of \u200b\u200bcoffee, while the metal passes from silver to gold. Speakers taste and fragrance to stimulate the senses, from songs like "Dreams uncertain" and "Signs uncertain" until you get to "perfect sound" and "ways out". Anxiety and uncertainty are gradually overcome, and begins the stage external.
The third and final phase of the trail sees a feeling in full blast. Passions, franked by doubt and guilt, emerging from the darkness of funds. Red and gold with strong evidence the irreversibility of the choice, in which even the most violent emotions is expressly crown. The pieces involved are "Irreversible", "Reactive", the four elements of "Seduced," next to "carnal" and "criminal."
The path is totally abstract. All have a base of acrylic paintings, on which are grafted or synthetic elements episodically natural pigments. Davanzo in this series uses color sparingly and with force, giving him a strong connotative and expanding the color range only by the need to enrich the symbolic meaning and content of the concept on where they work. Brushstrokes and slightly diluted identify the scope, on which is superimposed a dripping measured, calibrated yet explosive, which often declines in many cases the most significant variations of the same leitmotif. Un'action painting unprecedented nature of the author, weighted as it is refined, which emphasizes that drips and effects should be sought below the surface, revealing new, clever lighting effects.
