“Serotipia” is to be intended as painting through the tool of screen-printing, or silkscreen, but conducted within the limits of the unique and unrepeatable specimen. 1
By this definition the poet, Biblicist and critic Emilio Villa presented Nuvolo’s silkscreen works as a new form of paintings, giving a new artistic status to the particular products of what was first considered only as an industrial tool. This was a historic approach of screen printing to painting, begun in 1952 in a changeable and sometimes surprising way, finally covering Nuvolo’s entire artistic progress. In 1955, Corrado Cagli associated the first series with “throwing confetti,” highlighting its vital impulse, progressively accentuating the chromatic effects by quick drippings of silkscreen colors. The cardinal points of this geography are mobile, on a variety of materials (canvas, paper, wood, polyester, and cellotex), choices and materials (oil, tempera, and nitrocellulose), developing toward larger and more definite figures, to a rich and polysensorial exploration of the following cycles, conducted using scientific and computer guided applications.
1: Emilio Villa, catalog of the “Serotipia” exhibition, “Ferro di Cavallo” bookstore, Rome, 1958