“Herrero’s apologue can induce a sort of paralysis of volition: the artist, with the laconic severity that has always distinguished him, seems to tell us that no space of freedom is conceivable today. Yet a detail, only seemingly naturalistic, tells us perhaps something different. The coloured sandbags that he has added to the ensemble, in fact, are a sign of resistance: a resistance entrusted to the same colour which, in the adjacent room, saturates us with its noise. Where there is danger, always, what gives salvation also grows”. Andrea Cortellessa

In this exhibition the artist reflects on the crucial features of actuality. The recent conflict at Europe’s door, the past re-emerging, through a threatening rhetoric we thought buried forever, the relationship between history, the individual and political power are brought to question through a pictorial cycle and a site specific installation. Herrero’s painting research explores a liminal space between the figurative and the non figurative, where the color element often reaches the height of a conceptual content of the work, where the individual, the natural environment and history become categories on which the artist does ponder, by offering his personal interpretation, through venues like the portrait, the setting or the landscape. His painting technique based on subtraction, and the strong chromatic presence given by the use of pure colors, create an essential and luminous painting. Herrero has said that he follows Mayakovsky’s idea of economy in art, as a fundamental aesthetics and an “antidote against nausea and excess.” In recent years the artist has been paying close attention to the concept of the Observatory and the human-natural context relationship, a research which has brought about his works focusing on the notion of Saturation.

The exhibition is introduced by an essay by Andrea Cortellessa, historian and critic of literature, and will be ac-companied by a catalogue published by the Magonza publishing house.