Enzo Esposito was born in Benevento in 1946. After studying at the Academy of Naples, he immediately became interested in conceptual art. His cornerstones are mainly two: on the one hand the use of white, as the sum and zeroing of all colours (also Piero Manzoni’s symbolic colour), on the other, the Viennese Actionism, in which the main character was the artist body itself, which was subjected to actual tortures. But in him we find an evocation of laceration, not intended as a desperate existential denunciation of modern man's malaise, but as the overcoming of man's limits. The concept of Dépense is also fundamental, with it we mean the expression of emotions and passions up to the loss of the ‘self’, up to the point of ecstasy. This is what Esposito means when he talks about overcoming limits. And this, as an artist, involves the opposition to a type of art dominated by the aseptic conceptual rationalism. His paintings are built starting from an elementary sign that, replicating itself, tends to expand, to invade all the surrounding space. It is no coincidence that Renato Barilli in 1979, invited him, together with the unforgettable Francesca Alinovi, to the exhibition 'Painting Environment'. Or that Catherine Millet wanted him to participate in Baroques 81. Renato Barilli himself, included him among the ‘Nuovi Nuovi’, a group of extraordinary importance. In the meantime, a new four-sided sign takes shape that recalls a door, a passage, an overcoming of the canvas towards a background, an evolution of the idea of laceration to which his work referred from the beginning. To allow this sign to fully unfold, painting overflows, so much so that the painter is forced to add pieces of panels to the canvas.