by Sergio Polano, critic of art and architecture

Before the critic’s gazing eyes Meta-morphic present a seemingly indecipherable map of contemporary art landscapes. Nowadays art criticism seems to be devoted to distant territories, dark and obscure. Its language, distracted by personal and nostalgic memories attracted by an effortless usage of emphatic and trivial analyses, is imbued with trite rhetoric and anchored to the residual substrata of aesthetic platitudes and obsolete readings.
Metamorphic’s boundaries circumscribe another world, whose legitimation goes beyond canonical law and is reinforced by its own existence. A landscape in which one can follow different directions, which become clues of a virtual displacement. If we want to preserve an unbiased point of view, we may find that this approach dangerously but inevitably is the only way to single out few voices in a confused soundscape. These voices speak mysterious languages and reveal their lore and wisdom.
It is a never-ending process of transfiguration, as if their art tried to escape definitions and common labels. This process creates possible ways of interpreting art beyond subjectivity. It is a kind of art open to other possible worlds, whose febrile activity is in itself a challenge. A challenge that means exploring new territories, moving along uneven paths, conveying dynamic energies, producing dazzling matter-like lumps, whose colour and light, emerge from their actual spatial delimitation in their becoming.
This matter moves, expands and contracts along aimless directions. It turns into light that is colour, renders vision paradoxical and echoes the sound of choral voices in different modulations and tones. Flashes of lightning in the dark let us perceive the horizon for a second. This is indeed all we need.

Translated by Carla Bonollo

Claims to fame
Essay by Sergio Polano spain
Metamorphic L. Prestinenza spain