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Meredith Peters at the Museum of Contemporary Art in Capua

The praise of curiosity

This exhibition is not entitled The ola "an American at Caserta. The American artist Meredith Peters after birth, and studies in S Tates, and after a run professional as head of the indexation of the documents of the United Nations in Geneva, has actually decided to land in Caserta at the end of last year, but the works on show were all or almost all prior to his arrival in the shadow of Reggia.

This shows called "The praise of curiosity" because of a genuine curiosity about the world and unbridgeable are woven cloths of Peters in the nucleus of each work is evident the desire for knowledge and understanding of reality depicted.

Curiosity is the engine of knowledge, the other saying, basically, you going to seek it, driven by a desire, like Dante's Ulysses, which, at last to Ithaca, decides to get back on the road to satisfy his desire for knowledge dissatisfaction.

Living with curiosity almost complete, have an interest for almost all occasions of human life and for our whole planet, it is essential to transform a spring in observe the physiological act of see.

Plug everything in sight, indeed observed, its spirit, its own vision of the world, an inner segment of cosmology is a work flow that accompanies those who manage to set themselves questions, not trivial, but the unsatisfactory answers to his own opinion.

This is precisely the method of Meredith Peters: doubt watch and observe and analyze, in the real world to find a piece of herself and then represent it. Painting becomes shaping dialogue (which sometimes turns into altercation) between objective observation and intimate insights and intellectuals, the canvas becomes the place precarious balance between knowledge and introspection.

The daily reality of all kinds - from New York to that of ' Latin America, up to the African - is always the cause of the work, yet this is cloaked in an aura of mysterious, allusive, sometimes even over the top, which becomes almost magnetic to the observer. It seems to grasp at times - and only a watermark - the stream of consciousness that brings the artist from initial idea to final realization.

short to the phenomenal world observed closely overlaps, tonal the desire to depict the momentum of communication, as a filter expression, which transforms the innocent (and sometimes even romantic modern) views into backgrounds dense and opaque, hard and scary, current and contemporary scenes lose all sense of time, leaving the continuum chronological and crystallize, real estate, indefinite and indefinable.

There is often an observer in the works, third watching, sometimes with the artist, sometimes in a different direction, in a sort of visual triangulation , which serves to identify more precisely the coordinates, spatial and intellectual, geographical and spiritual, of the idea represented.

Two elements form the basis of art second Nietzsche: a realistic and a great unreality, and Peters continuously seeks a summary of this commuter route using the brush on the canvas its use as a divining rod, the seeker is convinced that it is to push the bar, Meredith Peters knows that is his inner being, not only unconscious, pushing his wand-brush.

Alessandro Manna