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"Crash Painting: first "exhibition" in Milan
(Article published in Milan by the Corriere della Sera on January 17th 2009)

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There will certainly be a reason why Erminio Alloni chose Sans as a pseudonym and decided to abandon the collage to use the crash, but I preferred not to ask. Sometimes you can be disappointed by the interpretation that the artist gives of his work and his own creative choices. When it happens, you are forced to be anchored to that “point of view” and the imagination of the observer can no longer roam and vibrate freely.

So many millions of OTHER possibilities are then denied. Have you ever wondered why most artists “come into” art history books only after their death? To carry the concept to the extreme, I believe that much of the reason will be found in the fact that they can not "explain" their work. The others, critics, historians, philosophers, do that, and can find the most diverse messages, thought researches, innovative thoughts that the artist would never challenge (and that maybe he never thought to put into his work).

Am I saying that a work of art should speak for itself to be considered as such? Absolutely yes. Is not this the realization of the most noble process of communication? A process of communication of a man or a woman that is unconcerned with the world? It is with this approach that I approach Sans' works and invite the audience of his show to do the same.

It is difficult for people like me who know the artist, not to think about the folkloristic aspects of the character: his formally ordered profession, the messy and informal shed, the violence with which he strikes the containers full of colour with bricks. It is difficult, but I will not do that. Instead I will concentrate on the explosions of colours, the materials chosen as the base of the crash, but also the containers, poetically normal. I mean bottles, coffee cups, cans, condoms. Sans leaped forward when he stopped fearing chaos, lawlessness, anarchy.

When he forced himself not to reposition the piece of glass of the bottles that just exploded, or the cap that escaped from the physical boundaries he had defined. In short, when it ceased to reconstruct, to intervene after the event. In the recent works collected in this exhibition he has been freed from symmetry and balance of solids and voids, the cage of aesthetics. He relied on, or better, he trusted the case, aware that, as a modern big bang, chaos can give rise to the sublime.

Silvia Pettinicchio

"Sans: the anonymous and discreet pleasure of Art"
(Article published in Milan by the  Corriere della Sera on February 11th 2007)

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"...About your "works", to be honest, I believe you do them a grieve wrong when you call them modest, since then they are not just works, but real oeuvres, significant oeuvres, arising from the sensitivity and your cultural influences and then... why to explain them? Who has the gift to understand and feel certain vibrations will understand."

Claudio Filippini


"I find the works called Living Made very interesting. Made with a technique that is called Mixed Media, they could simply be part of the genre called  Object Art.

But there is something: the compositions not only tell something about the composition itself, according to me, each of them contains a different context, a specific moment, a piece of life. They give me the same impressions of monuments: a Monument to the deck of cards and to the wrong hand; a Monument to the coffee break which started well and ended up with a fight; a Monument to the desire to quit smoking....

The LIVING MADE works are able to evoke, besides the technique itself, also the context of the object and this moment of life that is represented. The term also hides a quote, contrasting your works to the famous Ready Made... "

Angelo Secci


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