The images represented by Andrea never lose the coherence of their “compositional syntax.” The figures portrayed are not deconstructed, i.e., broken down to their fundamental elements and then set up again in a different, de-structured way, and even less in a broken, deformed or mutilated way. At most one could speak of a “fragmentation,” but of the support and not of the image. […] Today we find ourselves picking up the bits and pieces of a tradition shattered by the ideological madness of the pre-post-trans-avant-garde of the twentieth century. The best of our contemporary artists carry this trauma in their minds, hands and heart. It may seem paradoxical to find fragmented contemporary artwork standing alongside centuries-old art (some of which we have only thanks to careful restoration work). And yet this paradox best reflects the current status of art. In the world of art as elsewhere, a lot of blood has been spilt, and that is the picture Mariconti lucidly reassembles for us, with patience and sorrow. Those gashes torn across the paper are not open wounds, but rather scars that recall the fury of the twentieth century. That paper, that welcomes its unusual painting material and is torn and lacerated, behaves as though submitted to an accelerated aging process which far from coming across as fake, renders the work profoundly authentic, surpassing the strain of time in advance.
Giovanni Intra Sidola