A bicycle inhabits the white wall. The speedy marks of fleetingly seen bodies inhabit the canvases, which are also exaggeratedly white. The hand that makes the marks shoots across the surfaces as would a bicycle running around corners and streets, and leaves behind slender and speedy marks to be viewed quietly, to be brushed past, discovered with half-closed eyes, and secretly enjoyed.
Had I been obliged to involve myself with a detailed study of the works on show, then probably the title I could have given to such a hypothetical essay would be “Other Whites”. This is an explicit reference to a text devoted to Filippo de Pisis and his rarefied last paintings. In the works in Villa Fiorita, in fact, as Corrado has written, “The white canvas emerges in such a quantity to characterise a period. A prelude in art to other whites.”