Between the vital energy of action painting, with a refined and conflicting combustion of colour, and an inner meditation inclined, at least initially, to analysis we could generally define as existential, with occasional pulls towards intimist lyricism, Edo Murtić’s painting runs parallel to the European Informel experience in its strong emotional charge that, in connecting the physical aspect of matter (also metaphorically) to the nervous elegance of the sign, to a ‘script’ almost, or, in other cases, to an intense registration of mental dynamics through large and solemn cadences, quite spontaneously recovers the painter’s cultural origins. And even his landscape. Therefore, on the one hand, there is faithfulness to a reality, of a still recognizable nature, deeply rooted, translated into often fortunate rhythms of colour, ringing flashes, with a possessive fervour. On the other hand, in an almost obsessive variation of the gesture/sign in search of a sudden identification of nature, there is the organization of every emotional tension and of every visible trace of such tension into a new structure that does not contradict Expressionist forcefulness (and is therefore rarely dramatic) or freeze the possible meditative moment – until the indication of symbolic return. A return that does not require a recovery of the object, already submerged in total abandon to memory, but which certainly attempts a reconstitution by turning the onset of memory into the object (and subject) of painting. An ‘object’, however, which should leave only the feigning of a passage through landscape, a continuous urging....
Roberto Sanesi,
Art critic, art historian, artist, poet and essayist