Line of Best Fit seems to indissolubly dance on a knife’s edge, a very thin thread that invisibly marks and draws boundaries, divides the space by creating subspaces whose perimeter seems to displace with an infinite rhythm. And this is not because the infinity has made its way, creeping between the works on display but due to the fact that the perimeter of each formal hint exalts is an extravagant final boundary line, as the word itself suggests, to which it stays glued and in doing so moves more and more creating a dance of boundless lines. The semantic references, the shadows, the refractions, the spatial impalpability that derive from them are sensational. This thanks to the varied aesthetic complexity that is common to all the works, each one being the result of a voracious and careful research, a study on the liminal, on the spatial dialectics and a formal language investigated to the limit of its elasticity.
Domenico de Chirico, 2020