The last pieces by Vedova take on form through the monotype technique. Before these, came his first experiments in this genre from at the end of the Eighties, large monotypes that were revealed under the Californian sun in Santa Barbara, and the following year on the West Coast, in Garner Tullis' atelier in New York. Later, at the beginning of the Nineties, Vedova was invited to Spruce-Pine in North Carolina: in Rarvey Littleton's studios he experimented with glass engraving, achieving a style and method all his own of creating glass monotypes. This experience with the many others that come to mind, and his dedication to the monotype form, fused into a rapport of continuity, or more precisely, of consonance. It is the intimate and unique nature of the monotype, its intrinsic complexity, ready to accommodate infinite variations that, in addition to the form's technical procedures, make it such a concrete medium. A privileged manifestation of Vedova's thoughts, which he himself defined as Spazio Opposto (opposite space).
The monotype, by name and by nature a unique print, has an episodic physiognomy, it is an event, an act of nature, and painterly in equal measures. It is the mature fruit of an intentional intuitional migration, the image on paper of a fluid painterly moment, thick with oil, tempera or ink. Between the horizons of the non-absorbent surface, whether it is glass, metal, or Plexiglas, and the paper beach: the movement. A mark, then pressure, but done far away from any kind of mediation. Brought to our gaze by measured manual pressure, is its opposite, on paper. Nothing, almost, is allowed to sojourn on the surface before composition, making it the support, a practicable but ephemeral space.
A monotype breathes its uniqueness, it becomes an object under the hands creating the event. Not opposing, but inverse and contrary. A space that is opposite to that of painting, even though this provides its indispensable, but unresolved until migration, origin, complete only on that other beach. By definition an interstitial stage, accomplished in its ambiguous physicality, privileged explorer of that possibility, primarily semantic, which is the very flesh of painting, and then crosses the boundary, the markings liberated from the slavery of being tracks. The permutation on paper is the drama of a new event: telluric, yes, but nonetheless scared. Beyond the time of order - here, Vedova and painting - the time of opening, of rites, of festivities: of the alterity that is produced by the alchemy of an antique gesture.