To ask someone to write a presentation without indepth and a continuous relationship with whom writes about painting seems a bit pointless. That is why I prefer to say a few things myself, although I hope that my works will talk to you most of all.


The paintings are many and represent practically thirty years of work. The biggest problem is to maintain a common thread despite the diversity of the periods I exhibit.

Part of my production has been left behind, sold, forming gaps in my work, yet I would like to show this to the full. 

It is hard to choose specific examples of my work accumulated over time: there are problems of affective correspondences with certain pictures, of insecurity with some, of exclusion with others. 

It is a bit as though the artistic movements that most impressed me have created inner tensions that I have cultivated, wanting to broaden my understanding of the world of painting through each different manifestation.

Yet, there are points of fascination to which I always return and which make my periods not so much a progressive sequence as a sort of rocking backwards and forwards

exploring future possibilities without renouncing the past.  

Forwards: freedom to act, untethered by realism, engaging in different and contradictory experiences.

Backwards: to stay close to a starting point that supports my own relationship with painting, and with the figurative tradition in which I always find balance and the chance to relaunch in my work.

I would like that the diversity of these periods is not confusing, but rather a way to see how someone, i.e. me, moved in certain coordinates of contemporary production. Even if no one preference prevails, there is, however in all these periods an attempt - and a need - to appropriate the various moments and turn them into something that I can truly own.

My use of variety of materials responds to this need to find a way of being in agreement with myself. Violent colors, nuances and different spatial divisions are all different passages, but I do not consider these to be in conflict.


It seems to me that it should be possible to move as freely as one can and just as one feels among so many different things that a pictorial sensibility refined in search does not fail to bring.

                                                                                                                      Edoardo Krumm

Edoardo Krumm in the center
Edoardo Krumm in the center

Edoardo Krumm with his son Ermanno, on the right
Edoardo Krumm with his son Ermanno, on the right

Edoardo Krumm with his wife Mariacarla 1992
Edoardo Krumm with his wife Mariacarla 1992