"As often happens in old palazzos, a little passageway may open up onto surprising vistas. T his is the case of the second room, dominated by a large window opening onto the two-tone façade of the church of St Andrew, where the second work on show is positioned. It’s a piece of coloured glass, decorated especially with a lithographic pencil onto a layer of coloured lines, like those used by children at school. Andrea’s technique has been put to the test over recent years on huge surfaces, following in the tradition of stained-glass windows, which has something both Herculean and feminine at the same time. One of the most recent episodes was his major intervention on the windows of the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome (2019), transforming the light of the so-called Connection Gallery of the museum with a chromatic invasion, between excess and tradition. In Pistoia, the intervention changes scale, theme and emotional warmth: St George is once more the reality to be englobed and the dragon gives way to the princess: the Roman sense of lustfulness is replaced by the sanctity of sacrifice. T hrough a medium reminiscent of joy like fluorescent lines, the image now spreads out of a cas cade of flowers: multiform, multispecies and multicolour. Like in the field of books, also in this case the sense of torment inevitably gets under our skin. Among the attributes of the martyrs, the f lowers are just the most delicate sign of violence suffered and purity experienced. Here they are piled one on top of the other, beneath a palm, the universal symbol of martyrdom. It is in fact a homage to another massacre that took place not so far away, also hidden by a splendid façade: the Strage degli Innocenti in the pulpit of Giovanni Pisano, housed only a few metres away, there in the church of St Andrew. The work is immediately given a title: Andrea si è perso is a homage to the song by Fabrizio De André which, just like the church, bears the name of the artist himself. We are caught up in the final yearning, at the heart of the short circuit of human and divine love of this precious intersection."
Davide Dall'Ombra in "I Am Not Legend", exhibition catalogue, p. 189