“Lands in Sight” critic text by Giorgio Baldo, 2014, eng

The installation is a space between earth and sky. In this suspended place the two elements are reflected and there they cross their conversation.

Andrea Morucchio, in this second Celestial Dialogue, gave the land the role of first actor; that presents itself to the sky with its creation; offering himself to it in its entirety. The sky, from its heights, is called to see it in its extension of earth-body, which actually surrounds the Landscape Museum; and, in the figure that rises from it and is fixed in the suspended installation, he sees a thought. An image; which is a concrete abstraction in the figure of this earth.

In spring and summer, Morucchio has photographed a multiplicity of landscapes around the Boccafossa Museum: plowed and bare fields, fields full of grass, fields with rows of buds and newborn plants; perspectives of flat surfaces pushed up to the distant horizon, cut by very straight lines of ditches, by rows of trees and artificial rows of light poles; then the silvery ribbons of canals and the two rivers Brian and Livenza. In these large surfaces of earth and water, animated by a formidable network of lines and curves, divided into parallelograms of different colors and textures, in their flat vastness has found the point of a farmhouse.

An atlas of visual perceptions emerged. The land of Boccafossa is a landscape of geometric entities. These preside over its materials and govern its forms and shapes;but also, on the other hand, man's land seems to be ordered by itself almost in a frenzy of geometries of abstract perfection: someone can be extracted and abstracted from its surfaces. Extracting the spatial and colorful ideas of this landscape and their lively combination, making these image essences, is the substance of Morucchio's research.

To arrive at the suspended installation that we see today, he followed a complex process: he bent over the earth, attentive to his genius loci, lying on his surface face, confused in it. He brought together hundreds of photos in a few classes, in typical places.

Thus there is the place dominated by the signs of the straight lines and that of the curves; the one dominated by the surfaces of the parallelograms and by the scan between light and dark; that of sparse emergencies or dense gatherings of plants; then the places of the solid and those of the liquid and so on. In other words, he has recognized, in the analytical madness of the photographic eye that would like to know-classify all the details of the body of the earth (and which is lost in the details) the contours of a few figures. He referred to these great boundaries as certainties of the "true" seeing; trying to give substance to the geometric genius that fluctuated within them, governing signs, space, colors and movement.

To fix the changing configuration of these "places-creatures" (always shaken by the light of the sky that enhances and hides) he cut and recombined many of their analytical appearances into a whole (using the initial photos as semi-finished products) creating a puzzle where the pieces they arranged themselves following geometric lines of force.

So he formed eight synthetic earth portraits. The composition of cropped photos, recombined in mirror symmetries along the orthogonal axes, which have finally become a new image, seem to allude to the decomposition of the real of analytic cubism, combined with the kinetic and optical games of the 60s.
But they are new images; super images, insofar as they are composed of particle images that are complete (and recognizable), each true (as a photo can be) and each false (as are the photos; which make the living dead): a moving assembly-collage: hyperkinetic images of a land of geometric entities. So we have eight figures, synthesis of a work of extraction-abstraction and reassembly, each aimed at giving shape to the geometric genius of a place, where those multiplicity of perceptive impressions that the camera had were concentrated in a single abstract portrait of the earth analytically fixed in many photographs. A hyper game? It looks like; it resembles certain fractal images, to certain images created by computers using algorithms that transform energy waves into graphics. 

There is certainly a playful part in each of these portraits (and why shouldn’t there be a game in art?). But there is more. There is an order, a concept of order pushed to its extremes, the desire to unify particles, atoms, universes and their motions in the great grid of symmetry, one of the fundamental laws of the universe: to unfold it from mirror to mirror.
Morucchio made a sequence of his eight figures, he composed a flying carpet. Where a hypergeometry combining with color, with a tone, takes on emotions and mood. The consistency of the flying carpet is labile; the threads of his warp are made from the materials and colors of the earth, his designs are the designs that the earth traces like a trick every morning on its face. The carpet flies over the earth, it filters its purity, decoration and senses, transforming them into mosaics; thus he offers them to contemplate the dome of the sky, like an inlay on the floor of his basilica. The real of the earth: its idea.