As Sigmund Freud wrote, directly in English, in Character and Anal Eroticism, « Dirt is matter in the wrong place ». Quoted by Yve-Alain Bois in reference to Robert Rauschenberg’s Dirt Painting (1953), we could say the same for Luca Vitone’s seven dust monochrome pictures. Matter, organic matter, « éminence grise » (Fabio Coccetti), invisible and anonymous – yet still active – force… dust has a never-ending life of its own. Though we may sweep it away, it always returns, the same as before and to the same places. But discreetly, settling on things without ever becoming one of them. Vitone transforms the shapeless background of the monochrome picture into a repository for dust. Bound by nature to wind and air, to a constant airflow without a steady support, dust (the « anti-pigment par excellence ») meets with a destiny alien to its own nature. A
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