CHAPTER THREE – Logo’s birth
In the occasion of a major art exhibition, in which for the first time I went to show my work (it was December 1990), the art critic Roberto Sanesi, who introduced me in the catalog, suggested also to change how I used to sign the paintings, because a full signature was suitable to the early work of figurative character, but not for those of the latest generation of abstract nature.
I remember being in the car and I was going to Milan to meet Roberto. I was thinking about what I had asked about the signing and, as a vision, immediately it was all very clear. I imagined my first and last name all in a rectangle. Starting from R, and adding from time to time a small stretch, I managed to coalesce into a rectangle around. Of extreme simplicity. Sanesi was excited about this and from then on I signed all the works in that way.
We carry the critical text present in the catalog of the first exhibition in Florence:
“It ‘s been a long and not a little troubled, what led to the painting of Romeo Orsi at this point. There were, at first, the temptations of the figure, the thing described. Then the insights of matter, and in the body of the material, the diffuse color, almost a need, all internal to the subject, to extract “figures” in the shadows, as traces of great fruit, of planets. The sign, which tended to draw, Orsi found that he could plow in a negative matter, to be part of it. In today’s research, which is unlikely (as always) we can assume a point of arrival, but only transition which in any case is exposed with already recognizable characters, it now seems dominant hypothesis twofold: the sign and matter united almost drawn into a whirlpool, in a fury, dictated by strong gestures, which would probably exceed any psychologisms a generic informal to translate especially energy, and sometimes a certain “brutality” of the energy, or: the sign and the matter attempting to organize forms, albeit open, images that do not qualify as suggesting structures, objects, masses. So it seems Orsi started to work on this double register, and this testifies to his shows with clarity even in the titles of the individual works, which betray a considerable bond with elements of nature, but rather synthetic, or “events”: LUCE is a framework that abandons itself to the happiness of color gesture, FIRE is a framework where the mass, matter or an alleged architecture you consume in a fire visionary. “
ROBERTO SANESI XI 1999