Arturo Di Stefano's latest series of paintings is called Cangiante, and like the title of his last show at Purdy Hicks Gallery, Fat over lean, the title refers to a painting technique, in this case one that dates from the Renaissance, in which a different colour rather than a darker hue was used to suggest depth to a given form.
Cangiante derives from the Italian word Cangiare: to change. It also has other connotations pertinent to the activity of painting: iridescence; simultaneous colour contrast; optical glare and so on.
The subjects in the recent paintings range from a window in the Pitti Palace, an Italian blind, a poet and a guitarist. The artist's east London studio is depicted both empty and full of the usual painter's paraphernalia - stretchers, tubes of paint, canvases in states of progress and completion. There are several gallery interiors including three views of the Gallery of Modern Art in Palermo, formerly a Franciscan convent, a place where art and belief have become in a secular, ocular sense indivisible.
As Paul Moorhouse in his catalogue essay to the exhibition writes, '..... Di Stefano's paintings provide a view of reality that stands apart. They describe the world but present it afresh'.