Nicola Verlato has centred his new large paintings on the theme of clashes that often take place at a football stadium, using this topic as an excuse to infiltrate a very different metaphor for our times that, for some reason, reminds me of Fight Club, the excellent film by David Fincher (2000). The technique of the works is as always meticulous, slow and reflective. The complex paintings start from long preparatory stages that employ
anatomical drawing and three-dimensional sculptural models and in which
photography only has a simple technical support role. Through refinement, by giving the language the possibility to express itself in the best way
possible, by playing with whim and the effects of paint, thus provoking amazement on the part of the viewer, Verlato finds the “contemporary” solution for a painting that needs to stage a frontal contraposition,
like a stone that has been violently flung in the still marshlands
of the current image.
— Luca Beatrice


Selected solo exhibitions: 2003: Mudima2, Berlin; 2002: Mudima2, Milan; 2001: Totem il Canale, Venice.
Selected group exhibitions: 2003: Bianco e nero italiano, Mudima2, Berlin; 2002: Amore, Silbernagl Undergallery, Milan; 2001: Generation 2, Loretta Cristofori, Bologna; Generation 3, Baluardo di San Regolo, Lucca, Italy; Cocktall, Paolo Maiorana, Brescia; Tirana Biennial 1; Senza mani, Antonio Colombo, Milan; 2000: Trapassato Futuro, Ex cartiere Vannucci, Milan; Generator, Trevi, Flash Art Museum, Trevi, Italy; Racconti d’estate, B&B, Mantova, Italy; Sui Generis, PAC, Milan.