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I was a friend of Lucio Fontana, as all of us here in Milan, I was one of his many friends. A part from few services for various Biennali, I always worked for him without being requested: when I wanted to see what he was doing I rang him and arrived with my car, without tripod, without lights, thing that did not complex the matter, and I started to photograph.
Of all the pictures I have done, only one series -done practically in half an hour- has a precise meaning. Until that moment I had only photographed him,Now finally
I wanted to understand what he was doing. Maybe was the presence of a white canvas, a big one, with only one cut, just finished. That canvas let me understand that Fontana's mental action (that turn out practically in one instant, in the gesture of cutting the canvas) was even more complex and that the concluding gesture revealed only a part of it. Looking a canvas with holes and one with cuts is easy to imagine Fontana while he does the cut with a blade or a hole with a punch, but this does not let to comprehend the action that is more precise and that is not only an action but a particular moment, a moment that I understood I should have photographed. I thought to shoot him while he worked, but Fontana did not want to, and he explained to me the reason: <>
Probably I have not reported exactly Fontana's words and maybe I have added something of my own because many time has passed, but it was right in that moment that I understood how the preparatory moment, the one before the cut, was the most important, the decisive one. Then I appealed Fontana to pretend to make a few cuts. We put a new canvas on the wall and Fontana behaved as when he waits to make a cut, with a stanley in his hand, leaned against the canvas, on the top of it as the work should start in that moment. We see him from behind, it is seen a canvas with nothing on it, there is only a canvas and he in the attitude of who is starting to work on it. It is the moment in which the cut has not yet started but the concept elaboration has already been cleared. Thus it is when the two aspect of the action come to meet: it is the conceptual instant that preceed the action, because when Fontana decides to start ,he has already the idea of the work and the executive aspect of the idea's realization. Maybe it is right for this concentration and conceptual expectation that Fontana has called his cuts' canvases "waitings".
When the picture was done we took off the canvas from the wall and we replaced it with the finished canvas made of a single great cut. Fontana put his hand on the final part of the cut and in one of the pictures I have made Fontana's hand blurred as he has completed the gesture right in that moment: it is impossible to realize that the picture is made on purpose, where the cut was preexisting.