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The balance between the margins of the drawing and the irrepressibility of the stain that overcomes the score of his works in favor of the project of a lifetime: "Continuum" with which E.T. titles works and exhibitions, that continuum which, from Heraclitean memory, goes beyond the sheet regenerating itself repeatedly. Ennio names it "wisdom of time that does not pass", time of hypotheses and infinite possibilities, time of memories re-evaluated one by one and projected onto the future, condition of the imagination which, like water, expands, stops , imprints itself, continues to flow bringing with it signs of a human passage, while stones and papers are consumed in the celebration of art and life. In flowing towards yet another life. (L.Arnaudo / R.Lacarbonara)

The unfinished / The infinitive . Maps of impossible places

My works are “fragments of a discourse undergoing restoration” E.T.


The unfinished, the incomplete, are our only possibility of approaching the infinite (the unfinished), like an error in the measurement, a gap that opens in the boundless space-time in which everything must take place. , ending,  otherwise, it is unfinished. Upstream there is always a project that directs and, downstream, a destiny that is fulfilled; in the middle, all that is needed to make life a servomechanism of that self and other-imposed determinism. This trespassing – in this case, disrupting – beyond finitude, is the only thing that matters for Tamburi and every work is always the beginning of something, the first time. “A game of a not-so-random randomness, conceived on paper as for large spaces without horizons”, he suggests. Ennio doesn't like them because even the very distant horizons can become edges and boundaries. So he prefers a perspective of losses, an aerial and Zenithal vision: being above things to see them arranged down there, on the bottom of the earth/paper. "Flags in the wind". The infinitesimal position of millions of dots on the Nepalese and Tibetan maps contributes to composing an - eternally - partial, fragmentary, syntagmatic map. It is indecipherable. “Maps of impossible places” (R. Lacarbonara)


“The dot is absolutely the only link between silence and word” (Kandinsky)

In Ennio Tamburi's watercolors and temperas, the structural organization of the painting serves to regroup homogeneous and organized areas, gathering signs as if they were houses or settlements of an infinite, global city. An idea of ​​regular but not mathematical space. The choice to exhibit the works on paper, without supports or frames, responds to the need not to "close" discourses and pictorial practices: a sort of uninterrupted and, therefore, interminable writing. Lacarbonara


“Very controlled, counted dots: my confusion is concentrated in these dots” The single sign is no longer just a sign but a collection of small and perfect pulsating, living organisms, able to compose themselves according to more or less complex patterns. The dots are arranged on the sheets which from above seem to give life to imaginary topographies, maps or military deployments: rigor and geometry govern the action in order to obtain a balanced image.


Dots are like "nomads" who roam free on wandering shapes, swaying between them. With water that distorts and wrinkles - A system of desires punctuates the story, the passionate dimension - repeating itself different every time - The  memory's archive.

The time

Because everything is time in Tamburi. Everything is always this time, a fully unfinished now, a diary of fleeting appearances – as in the most beautiful book ever, that Continuum created for the Casanatense Library in 2006 – impressions collected a moment before being lost into ashes. A trace that leaves no trace. “The wisdom of time that doesn't pass,” he says.

"I don't want to talk about the past anymore, now I'm here.” (R.Lacarbonara)


The place/  The field

A space that Tamburi means as a "field", according to multiple declinations. Battlefield, in the first agglomerations of "deployed, compact, ready to strike" dots that equipped the cards of the nineties. Energy, quantum, "pre-dimensional" field in loose sheets and gathered in pairs and polyptychs starting from the 2000s


In this fertile and boundless field that is Tamburi's sky of paper, each work is a wandering, where it is possible to cross without the expectation of a stop or a reading. An almost musical, rhythmic score. Sometimes, the geometric organization inside the painting serves to regroup homogeneous and organized areas, agglomerating signs such as houses or settlements of an infinite, global city.

The place/The paper

I lean over a Chinese or Japanese paper, I feel invaded by calm and warmth. Its soft surface is like the mantle of the first snow". (Tanizaki 1935)

The way of paper that comes from the Far East, as a spiritual practice, every gesture, every movement is measured, balanced, simplicity, sense of experience, spontaneity. Light as feathers in the wind, elusive. Paper becomes a place, a field of relationships, an area without margins of sensitivity.E.T.


The numerous polyptychs made with the combination of precious Tibetan, Japanese, Indian and Nepalese handcrafted papers that the artist chose with meticulous attention. In some cases the paper is repainted, in others it is left entirely "natural" so that the support reveals its texture, its body or lightness, creating a counterpoint with the images. 

Paintings like "pages" arranged as a result of a fluid expansion of the pictorial skin, but at the same time characterized by the geometric and rigorous composition of the clusters of points rhythmic on the surface. Lacarbonara

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