The impression of pure abstraction fades the longer one follows the heterogeneous traces—leading to letters, words, and references to objects that are integrated as formal elements into these dense clusters. At times, one might think of house walls where anonymous scribbles, symbols, and statements randomly overlap with ever-new graffiti—incidentally, without anything in this often rapid process being entirely erased. In this context, it is important to note that Settembre intertwines graphic and painterly techniques in his works. Settembre’s paintings always retain an “open” character: not only are the “unpainted” areas left in the image ground equally significant, sometimes even determining formal elements, but they only emerge ex negativo through the surrounding painterly and graphic actions and accents. Even more so: one is almost compelled to read the paintings in reverse, tracing their genesis, the sequence of artistic steps and actions. This is where their meaning lies and the analytical challenge for the viewer.

 

This intelligent painting is—also in an “entertaining” way—rich with references to other contemporary art. For example, I see traces of American painting like P. Guston, J. Lasker, and C. Wool, as well as the “Cobra” movement and M. Majerus’ sampling. These influences are both displayed and processed on an international level. For an Italian artist who has journeyed from Genoa to Milan, then to Stuttgart, and now lives in Belgium seeking new challenges, this is a natural progression.

 

This also includes a reflection on how a painting is ultimately exhibited—how it should “appear.” Settembre’s works employ a variety of supports, from canvas to hanging paper banners. By repeatedly moving the painting from the protective confines of the wall into the space, it intersects with our paths in the social sphere, presenting itself as flexible rather than fixed. Scribbled papers stand on equal footing alongside large-format works. Rather than serving merely as a surface for projection, the painting becomes a spatial actant (B. Latour)—an object that intervenes in our lives with a voice of its own. In this way, his exhibitions are carefully staged, with the exhibits arranged in polyfocal and unusual viewing axes. These invite viewers, both sensually and conceptually, to engage in active interpretation. It is rare to achieve more than this.