In every one of Osvaldo Moi’s works we are struck by the existential energy, the vitality exuded as much by the figures of child soldiers as by the details of bodies that emerge from the virtual mass of space and time surrounding the piece.
Nor is there anything random about the choice of fish as a subject, since they are traditionally vehicles for an inexhaustible vitality, which is as powerful as it is heightened by the silence and rooted in the depths of the sea. Nonetheless Moi’s language is always controlled; if anything it tends to be more expressive in the abstract works, by definition devoid of direct references, where the energy is simply transmitted rather than using an image as a conductor. Thus forms are rendered inform and the material pulses, as in the scrunched up canvases steeped in colour. But every time his research focuses on figures and things, or even anatomical details or specific connotations, the more controlled the form is, the stronger the vital tension becomes.