The validation of the work occurs immediately, in fact after some traveling exhibitions “Avamposti” curated by Marisa Vescovo, the first important exhibition takes place under the aegis of Achille Bonito Oliva who brings him closer to pop art and comics in the 1989 exhibition “Artoon the influence of comics in the visual arts of the 20th century” at the Palazzo della Civiltà e del Lavoro in Rome. In the exhibition catalogue the critic from Salerno writes about Incerti: “The artist uses as signs of his own anthropological landscape the low simulacra coming from the mass media, as fragments of oral and popular culture, destined for obsolescence and oblivion; the artist recovers, elaborates and delivers to future memory what would otherwise be lost (…) “Since then, the official exhibitions in museums, foundations, personal, public and private exhibitions have reached over 300 and the collectors’ market from Japan, to Canada, to South America, competes to get hold of his “pieces” that are present at the New Orleans Museum of Art, the Art Museum of Baltimore and the Musée d’Art Contemporain of Montreal. I, as an art critic, have followed his production over the last ten years which has gone from images mounted as light boxes to video art saved on USB sticks to interiors with contemptuous, but always lyrical and evocative, juxtapositions.
In fact, Incerti is a researcher, a graphic designer, a laboratory analyst technician, a colorist, a philosopher of life, who has never stopped questioning the meaning of Art, especially his own and his lyricism. After having allowed a disproportionate number of images to settle for years in the archives of his memory, which he works with the meticulousness of a Carthusian amanuensis, very few pass the sieve of his rigorous censorship, most end up in the abyss of Chaos. Currently, just like in Hesiod's Theogony, his works are dedicated to Gaia, our beloved Mother Earth, who comes to life in abstract compositions, in images seen under the microscope, well aware that the work is not what it represents but the emotion it communicates to us. The same subject is followed by landscapes with altered colors; videos with repeated animals going into extinction; catastrophic visions of tornadoes and floods "turned" to the negative with fluorescent tones and, recently, characters drawn from the most disparate fields with the mask-gag that homologates them by depersonalizing them. Needless to say, the message shouted by Iller Incerti, overwritten and underlined on the images is Life that unfolds in its visible and invisible, ironic and sad, figurative and abstract, historical and contemporary, lyrical and spiritual frames.
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