"...It looks like the ornament could only be experienced, or understood, through its relationship to the artwork: then let us imagine a work of art in which this Derridean ratio work-ornament is subverted. I don’t mean an artwork in which an ornament is simply reproduced or integrated, like in the famous gallery paintings by David Teniers the Younger, Fortunato Depero’s tapestries or René Magritte’s Le masque vide, among many other examples. I rather mean an artwork whose very subject is the ornament, like if a frame stepped inside a canvas and pushed away anything else to make room for itself alone: a painting about a frame, an ergon about the parergon.
Such a subversion is the object of Agostino Iacurci’s current research. A trompe l’oeil in a figurative sense: not supposed to cheat the eye of the observer – the quasi-abstract appearance of such plain-colored and playful canvases could never succeed in this – but to cheat our understanding of the common boundaries between art and decoration.
Mexican architectural ornaments and ornamental plants are, for sure, an inspiring subject to dig into, and an original way to produce work during an artistic residency. It is like the artist, during his urban exploration of Mexico City, has focused on what is commonly perceived as marginal, and made artwork out of it. Door and windows frames, friezes and balcony bars have thus become the object of symmetric, colorful paintings, in which the pictorial frames coincide with the edges of the canvas, the central part of which is deprived of any pictorial framed element. On the other hand, agaves, ferns, and cacti have become wooden sculptures – in which trunks look very much like elongated and decorated bars that Agostino Iacurci has eye-captured from some balcony – that remind us of some wonderful wooden representations of flowers made by Futurist artist Giacomo Balla between 1918 and 1925..."
From the text by Vittorio Parisi