Nightmare in New York

When commonly referring to overloaded information, to obsessive accumulation of signals in the circuit of production and reception of the visual and textual context, we are generally content with a kind of observation, a confirmation which actually leaves everyone overwhelmed by this sequence nearly uninterrupted in its unfolding and repetition. Indeed a fact by now acquired, but in front of which it seems to be emerging in the work of Bartus Bartolomes, as for natural antidote, a spread of verbal-visual gasps, pictograms on the boundary of the text, which hybridizing in its occurrence builds a language inspired by a visualism not mechanically decodable. The artist’s iconic message, shaped through disarticulations in ordinariness and predictability of the media message, both technological and not, free a linguistic joyride which does not deny the ritual of the standardized information, but puts it in a condition where it loses its reference code, then it loses its fair pervasiveness and translates it into the actual encounter with the own circuit of the recipient of that message, a receptive humanity that shows itself in its variant both as western alphabetized audiences, and as peripheral ethnic group to linguistic mechanisms typical of post-technological world… The ludic soul permeating the iconic artist’s writing sweeps like a breath his overcrowded montages, gives them exotic fantasies, transforms the human desires in deformed spatial compartments waiting to trace a spontaneous and direct expression of the self. The color and design coagulate around this sort of writing that, starting from the previous visual poetry, wants to return to a visual word that hybridizing realize itself beyond a precise control, beyond a ‘ search ‘ resulting from the intention that produced it, but a word mark that hovers without reflecting in a semiotic unique referent, so that the language may finally lead us back to what precedes and nourishes it.