“With Correct ways to misunderstand Traffic Gallery presents the first solo exhibition in the gallery of Daniele Di Girolamo (Pescara, Italy, 1995), who for the occasion presents a nucleus of works produced in the last two years, inspired by his residency in Hong Kong, between September and November 2019. Despite his young age, Di Girolamo reveals himself as a careful investigator of matter, demonstrating a clear sculptural sensibility that is based on the hybridization of visual and sound languages, in a processuality that is imposed on the observation of the mechanisms underlying natural processes and the relationship between man and landscape. The latter is for him an inexhaustible source of inspiration, in the chemical-physical and biological phenomena that transform it and in those of anthropogenic origin that fatally alter it. Di Girolamo, it must be premised, alternates scientific analysis with emotional data (often connected to biographical reference) and it is on this dual relationship that his practice is based. We can, without qualms, likewise advance the attribute of poetic when speaking of his work, and an intuition, this, that Di Girolamo confirms when he chooses to reinforce the reference to the emotional by availing himself of the word – written and spoken – which becomes, thus, its inescapable trigger. In Correct ways to misunderstand, the central reference is Di Girolamo’s experience in Hong Kong coinciding with the student and popular uprisings against the central government, no longer able to contain Chinese interference in its domestic politics. But Correct ways to misunderstand, we make it clear now, is not a political project. Nothing is deliberately political in Di Girolamo’s art. In his creative sensibility, the brutality of his experience in Hong Kong finds a formal echo in works that are composed of object traces and indistinct sounds that tell of an unclear world, analyzed by following small clues of meaning. Di Girolamo throws us into an experience of disorientation and misunderstanding quite similar to what happens to anyone who visits a foreign country without knowing its common language and customs. Walking through the spaces of Traffic Gallery one finds oneself, thus, immersed in a maze of suggestions, cross-references, and continuous sensory connections: the works on display become a reverberation of the real datum revised and transformed by means of the artist’s intimacy. The poetry mentioned earlier is revealed precisely in this process of deconstructing objectivity by means of subjective emotionality.” … Leonardo Regano
