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L. Pescador, 1995






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The self-expression house, everyday objects, his car, stools, a box of pipe tobacco... Nothing was excluded a priori and everything came together in the epiphany of his abstract and symbolic forms. This was evidently another analogy with African art which, by its very nature, spares nothing, indeed it elevates the category of mundane objects to splendid artistic artefacts.

Prometti was a careful collector of African works, but outside the world of the art dealers. The object was alive insofar as it was collected in loco and was fruit of that here-and-now aspect of his travels. In particular, his collection of objects pertaining to the religion and material culture of the Dogon people was without doubt remarkable.




Travelling, then, became a cultural, anthropological and artistic experience and these three dimensions were inextricable.

His artistic sensitivity and ability allowed him to collect dozens of pieces from the Sub-Saharan region, but each one of them closely bound to its place of origin, which gave it gloss and sacredness, a million miles from the well-lit display cases of fashionable lounges.

The countless subjects of his works are the decantings of a genuine, shrewd and happy universe. Thus the theatre of the world takes shape through the symbolic stylisation of the tarot; its totemic forms are vital and energetic, steeped in a Pagan religiosity. Jewels are sculptures for the body, collages and panels a jubilation of restless shapes and colours. Irony pervades all his works, art is still just liberation and his irreverence reminds us of the frivolity of life.




Enrico’s studio represented a unique experience; his chosen place of work is made up of layer upon layer of objects: created, abandoned, taken up again and reassembled. A fruitful handwriting, in a state of eternal coming into being, attests the story of a life of searching which will never come to an end since searching is the very meaning of a life spent for the sake of art. Enrico’s studio was worth dozens of personal and collective exhibitions and, like all valued items, should today be discovered, understood and appreciated.

The sense of a profound artistic message is offered with the humility of one who has always been consistent in wanting to personally take care of his own business. A practical, total artist to continually measure oneself against in order to chase away those dark shadows of nonsense which lie latent in all of us.



Short biographical note


Enrico Prometti, b. Bergamo, 1945. d. Bergamo, 2009.


From 1959 until 1965 studied at “G. Carrara” Academy of Fine Arts in Bergamo.

Personal exhibitions of painting, sculpture and woodcuts in private and public galleries in Bergamo, Milan, Lodi, Ferrara, Olbia.

Collective exhibitions in Italy and abroad, including two personal exhibitions in New York in 1996.

Long journeys in Indonesia, Sumatra, Papua and, especially, West Africa.



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