Ignazio Moncada Archive, accepting the invitation of Spazio 22, presents from September 28th, at the Gallery of Viale Sabotino, some unpublished works of the Sicilian artist. Five canvases in wide format, belonging to the series Interrupted Convergences of 1971, compose a homogeneous nucleus caracterized by cromatic structures, that penetrate each other, breaking continually the stability of geometry, with contrasted balances and sudden fractures, which cause variable dynamisms. For their character, the works are similar to the ones presented in an exhibition at the Galleria dell’Obelisco in Rome in 1971, with a catalogue written by Enrico Crispolti. At the centre of the show, two ceramics of 1973, realized in Albisola, represent the beginning of an experience, that brought Moncada to a significant developement of his patining: to an impulse to combine sand, tissue papers and earthy chromatisms with the geometric elements, determining the “imperfect” seriality, that will become one of his constant signs. As we can see in the displayed ceramic objects, in which the solid geometries fragment in an animated overlay. In the wide painting of 1984, Music Rhythms, the alternation between chromatic, sand wide horizontal lines and lozenge signs, disposed in order to create a tendency to sequence, to “continuum”, that exceeds the spatial limits of a painting, find in a fluid and liberating rhythm, a recall to the Mediterranean variable atmosphere. The canvas dates back to the ending period of an other important painting cicle, Alesa and the signs of time, started in 1979. At the beginning of the exhibition there is a painting of the first moment of this cicle, with red-brown, faint black, yellow-ocre rhombuses, that emerge from the bottom to the top, as pushed from an unconscious and hidden energy. The same complex, color perception values, reached in this painting cicle, were transposed by Moncada in the big plastic canvases of his Pont Art, that, covering the southern gates of Piazza del Duomo of Milan during the restoration works of 1982, transformed a constructon site in a painting event in the city, in a large screen of images which evoched a dreamy mediterranean pave. Two jouvenile figurative works of 1953 were inserted in the show. In these works we can find, in the attention to wind, light, sand and to a lightness that moves the geometries, a deep feeling, never abandoned from the artist in his following formal abstract research.