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“Palmo panorama” — what a strange title. That was my first thought when Marco Emmanuele showed me the draft of the invitation to the opening of his solo exhibition at the LABS gallery. And yet, on closer reflection, the two words placed side by side manage to express and hold together the various tensions within the show: the contained scale of a palm and the vastness of a panorama; the infinitesimal and the monumental; all the way to — with a small mental leap — the friction between the confined space of the studio and the potentially boundless expanse of the landscape.
It’s a play of dualities that also emerges in ISO #250: a work of ambitious scale — practically the size of a soccer goal — yet one whose power lies in a multitude of tiny particles, in an aggregation of glittering elements. Who knows how many grains of sand and glass fragments this piece contains — probably the centerpiece of Palmo panorama, if only for its size. The firs…
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Press Release
“Palmo panorama” — what a strange title. That was my first thought when Marco Emmanuele showed me the draft of the invitation to the opening of his solo exhibition at the LABS gallery. And yet, on closer reflection, the two words placed side by side manage to express and hold together the various tensions within the show: the contained scale of a palm and the vastness of a panorama; the infinitesimal and the monumental; all the way to — with a small mental leap — the friction between the confined space of the studio and the potentially boundless expanse of the landscape.
It’s a play of dualities that also emerges in ISO #250: a work of ambitious scale — practically the size of a soccer goal — yet one whose power lies in a multitude of tiny particles, in an aggregation of glittering elements. Who knows how many grains of sand and glass fragments this piece contains — probably the centerpiece of Palmo panorama, if only for its size. The firs…
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