Andrew Dadson, the young Canadian artist from Vancouver, is exhibiting for the second time in a solo show at Galleria Franco Noero. His work develops the idea of the action repeated in time, questioning the concept of limit and physical space through the use of different media like photography, video and painting.

In the Gallery spaces the artist presents a new series of paintings that go over the two-dimensional plane of the canvas in order to create a sculptural relationship with the space. The works are in fact realized layering several coats of oil paint in different colours that are continuosly scraped off to the sides and then covered by a black or white layer. The thickness that derives from the paint begins to hold the painting askew from the wall or alternatively it becomes an accumulation of material that expands the edge of the canvas.

The Lean Paintings, detached from the wall and protuding in the space, cause a visual distorsion making the square or horizontal shape of the works look trapezoidal. In the Restretched Paintings the build up of paint on all the edges is the limit that separates the full space, entirely covered by colour, from the empy one of the raw canvas around it.

The overlapping layers of colour are dependant on each other and become the support structure for the next coat, a tangible sign of the action the artist repeats over and over, synthesizing in this way the idea of time.

Leaning against the wall as props, the paintings make reference to the work of Richard Serra and Charles Ray, while their monochrome surfaces send back to the experiences of the American abstraction, to artists such as Rauschenberg, Reinhardt and Rothko.

The End is the Beginning is the title of the installation in the Project Space in Piazza Santa Giulia 0/F: a sequence of neon tubes constitutes a billboard, in which the light is obscured by paint creating and effect of obliteration, like if it was the vanishing of the sun.