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Lot Essay
A magic lamp, as we call it: the usual unassuming materials, still with the original sheets of plexiglas from the 60s, on each of which the artist has incised a square of identical size. A system of temperature-sensitive“on” and “off” switches creates an extraordinary bright frequency of the squares, but also, at the same time, of the upper sides of the individual sheets of Plexiglas. Within one square, a variety of squares pulsate together lighting each other up, at rapid speed, giving rise to the idea that the different squares progressively expand and contract. Light comes into Colombo's art, as a material, and is transformed into movement, even into optical illusion.
New thresholds of perception, new visual models that palpitate in the air, the marking of time through the incessant path of the squares in movement, and you who, hypnotised, halt your own time, so that the magic may last longer.
The play of the images/shapes that interpenetrate in the space, in a sequence programmed with precision, is almost always entrusted to the exiguity of wires, of materials that are very common and sometimes
impalpable, which follow a geometry as well-defined as it is precarious. This, too, is part of Colombo's brilliance.
New thresholds of perception, new visual models that palpitate in the air, the marking of time through the incessant path of the squares in movement, and you who, hypnotised, halt your own time, so that the magic may last longer.
The play of the images/shapes that interpenetrate in the space, in a sequence programmed with precision, is almost always entrusted to the exiguity of wires, of materials that are very common and sometimes
impalpable, which follow a geometry as well-defined as it is precarious. This, too, is part of Colombo's brilliance.