Published on the occasion of the exhibition Enrico David, 22 September - 9 December 2017 at Michael Werner Gallery, London.
In this essay I have combined a commentary on the works in the exhibition alongside an account of the abstractions which are emergent within the overall practice. The difficulty presented by such work is how to create a process of designation for it, for instance is it post-surrealist, late modern, contemporary or even a splicing of such canons or temporalities. A given representation of a face might simultaneously draw upon Giotto, but then this in turn, might be mixed with a memory of a face from a film by Pasolini, in order that yet another revelation of a subject might occur. This leads to questions such as how does the function of memory and imagination intersect so the abstract question finds its starting point within the folds of the actual sculptural configuration. The phrase "eruptive energetics" (P15) was employed in order to point towards excess lurking within the abstract nature of the movement of form and image that escape fixed modes of appropriation.