The research conducted by Albano Morandi can be interpreted through the lens of latency, which influences both his work and his creative method: his works, be they single pieces intrinsically complete, or installations - and invasions – of the space in different sizes, or cycles of images in dialogue among them, starting from a theme that multiplies in endless variations, always spring from and lead to an unresolved process of appearance, an indefinite revelation, an undeclared recognition.
Latent, as the word itself implies, indicates an action that is still in
progress: it comes from the Latin verb “latere”, it implies something
that is hidden, but could come into view; that is under the surface, but
might somehow emerge; something
disturbing, unsettling, subverting, while remaining in a state of
potential tension, a vaguely restless rest.
Latent is an oxymoron,
latent is what is revealed while hiding: it might come into one’s sight
or it might be forever confined in an in-between state linking the
perceptible and the unconscious.
His practice of Surrealism, seen as
the continuous sedimentation, surfacing and provocation offered by
images, which, at different levels, impress, inspire and encourage the
mind’s eye of the observer, belongs to him and merges with that
suspended Dadaism, never aggressive but deeply urging, that all his
works actually contain, from their genesis to their making and their
relationship with the public.
Probably for this reason, the artist
issues a manifesto, i.e. a text and an exhibition project, in which he
declares his aim with programmatic clarity; and immediately after he
contradicts his intentions, calling it "a lyrical playful Dadaism."