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)
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 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 the 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”5, he suggests. Because even the very distant horizons can become edges and boundaries, and Ennio doesn't like them. So that 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)