Diabolik

When a mouse sees a bat flying by, 
it exults: “Look!  an angel”. 
(Michel Tournier)

As ever, the theme of the sacred runs through Angelo Formica’s work,
a popular tradition I first glimpsed in the light translucent tissue paper
used to wrap oranges, a radiant touch within folk tradition,
these are the first of Angelo’s works that I remember seeing.
Then came the constellations of playing card suits,
reimagined with sacred and folkloric figures,
angels, demons and butterflies.  After many years
of exhibiting and storytelling, Formica encounters Diabolik
and his gang, the inspiration behind the exhibition,
and the first icon who is ready for action, armed with torch and gun.
This is the nocturnal labour of Diabolik, guardian of the night.
Just as St. Paul fell from his horse on the road to Damascus,
so too Diabolik has a vision, and while on the run and in grave danger
he sees bees bringing honey to Eva Kant’s lips.
This marks a change of course for Diabolik and his gang,
who abandon their high-society life of crime to become
haloed saints, inspired by Angelo Formica and accompanied
along the path of faith.  As in tradition, recalling
Brueghel’s ice-skaters, Pino Pascali’s hand grenade,
Tony Cragg’s highway of small worn-out cars and
Charlemagne Palestine’s soft toys, it is childhood that animates
the artistic mind.
Exhibiting alongside Diabolik, is Gino Ponti, king of the architects,
as well as Lisa Ponti, who dedicated her Red Ant to Angelo Formica.
Vincenzo Agnetti is in free fall, and Gino De Dominicis, holds time
tightly to his wrist so as not to lose it, and then Salvo, already benedictory
and haloed since 1973.
(Franco Toselli, 2024)