Into the Abyss: White Album, the first installment to Costantino Zicarelli's two-part solo exhibition is the artist's continued investigation on the format of installation and the determinative qualities of drawing. While he sets up the sum and configuration of sculptures to affect the overall ghostly scene, he likewise seeks and defines the scope and depth of light by making use of installative devices. The series of drawings for the exhibition displays a painterly consistency as he introduces a certain brashness of mark-making as well as his habitual activity of pixelising within the image.

Directed with the aim of reconciling the material depth between painting and drawing, he constructs dense landscapes diffused with light to achieve texture. His current body of drawings brings up his history of exploring the medium – from floating symbolism and aleatory patterns to his photo-based process of accomplishing clarity and realism – and how he presently transgresses those phases as he moves toward abstraction in this exhibition.

Zicarelli imprints in Into the Abyss: White Album his predilection towards the ominous as he remarks on the tropes of black metal and drone music. Taking from the genre's minimalist sequences, Zicarelli evokes its menace through a diffusion of imagery. Even though his works contain his usual density of suspense, he departs from overt symbols of contempt. Instead he moves toward identifying and staging settings of dissolution, mirroring the bizarre relationship of such music to the natural physical world. Employing the twofold abstraction of light, he casts a lingering ambience of gloom over dim landscapes and sculptures denotive of the mythologies
of fame.