Painting by Pasquale Picazio in the Future of Visual Civilization
Pasquale Picazio, upon arriving at his climax as an
artist, prepares for the eminent arrival of innovations of the
“Post-Novecento,” or after the 20th century.
Therefore, we are led to see (Visto) and think of the future of figures
in art. In this case, the word “Visto” or see, should be interpreted in
the immediate and universally: see the image; enjoy the image as you are
looking at it. When enjoying, absorb the explicit communications and the
hidden transmissions. In Picazio’s case, being a painter of Body, you
could even use the term “sotto pelle” or under skin, to solicit a vision
that must go deeper, and at the same time rise into the light, in the
summit of emotion.
The “Nudo-Donna” or Nude-Women of Picazio is
understood immediately, and seen, in her visual sense literally but is
almost a reconsideration of desire-memory, being absorbed in a
non-visual way and transmitted intimately to the spectator of the
painting. We are experiencing Pasquale Picazio art in a rare, modern
way; the body language of absolute purity, having arrived to us from the
Greeks. Returning back to the painter, we can analyze three points
about the painter as follows:
1. Pasquale
Picazio paints with a vast applicative knowledge of his work as an
artist. In work, we mean the possibility of using each instrument and
useful material in realizing the inspired moment of the painting. It
would remain in limbo of artificial beauty, and not art, if the
technical method realized was separated, worse isolated, from the poetic
thread. Pasquale Picazio, as many contemporaries who – sometimes
knowing their real limits – exchanging even the ultra modern
improvisation of their painting, tend to fuse technique with their
emotional objective. Only a minority of contemporary artists are able
to do this: permitting a perfected technique and together causing an
instinct of art, these qualities distinguishing an artist, and in
Picazio becomes his own Signature.
2. revisit of Picazio in his
first works, brought forward to today and to his possession of global
quality, documents the use of materials and “methods” of painting
inserted in the story of the art affair that has made superb the century
that we have left. Overlapping substances, tactile divisions on
the painting, absorption of our most significant revolutions which has
been futurism, a mixing of lessons learned from previous masters of his
generation, this and more make of Picazio an artist well aware of what
is asked of painters today: both concrete and unreal image, overcoming
this breakthrough of photography and separating them. In a sub
sequential phase the artist has polarized the attention and realization
of the painting on the inspired model to the feminism characteristics
seen by male eyes. The risk was to stop at the image of a woman in
a painting without objective, even if giving dense visual enjoyment.
Picazio surpasses this risk. One of his paintings (“Contatto” or “Contact”)
showing a human couple stylized, and clearly narrated, in the tangle of
his painting. Picazio was able to happily put in place the fusion
of modern art: from one part the geometric figures and the other classic
figures, resolving the conflict between formal and informal (This is
understood as other “form” of figuration). The autonomy of painter
Picazio is to obtain this fusion without remixing the two situations,
but placing them in the same painting with full separation. With
wisdom of art, he causes the visual burst of unity. Two forms that,
to the magic eye and intimate look in an instant process, causing a
sensation of realness. The contemporary look, indeed, is not able
to exclude the perfection of the human form, acceding to our
“Corpo-Esistenza” or “Existence of Body,” but believes necessary to
insert into the visual landscape explosions of color and lines, which
are now visual heritage of the new civilization of images, in which we
live. In this combination, realized from the first line of
technique, is actually a valid sense of transparent time in the painting,
as with Picazio. We
would elevate him to being a reference of art. Like
the naturalistic Leonardesque background
on the perfection of the subject central to the work, Picazio raises the
visual mental bottom of today. It is his reality.
3. The
situation of this artist coincides, because art is also a spontaneous
insertion in history, with a diffusion of phenomena, which did not
happen, and is not a movement. By chance, or by intuition, around 1973
the painter that wanted, on purpose, to make the Body a protagonist of
sentiment and even of ideologies of existence, being named as Body-Art.
Words remain words, when missing the body of work resolvable in poem.
Idea of going beyond the Body exposing the Body, moving into the
education of images of today. Pasquale Picazio is surely a unique
artist, like each artist. However, it is to his global advantage the
report with what History causes in the many truths which art often
anticipates. A nude painting by him, meditating past the skin of the
form, is able to bring to light something “else”: a mysterious something
“else.” The nude remains bare, but at the same time, covered with a
magic visual filter. A “signal” that has no reasoning. These and other
sensations and considerations can start for paintings of Pasquale
Picazio a discussion of coinciding knowledge with the mutations in act
in the visual civilization.
Roma 04 April 2000, Giuseppe Selvaggi
Critcs Outline
The reorganization of images in the center of the
renewed perceptive ocular is experience that sees concentrated on the
search of Pasquale Picazio. In completing this we could define the
“problem of consciousness,” in the paintings of Picazio (and to explain
the expressive reasoning, also) here intervenes his desire of evasion,
his going beyond the honored limits of useable space in order to refuge
in a useful hypothesis. From here fantastic intuition in the visual
camp becomes sentimental sensations and memory that brings the reality
and the fantasy together. A search, meanwhile, that aspires to the
strict harmony that is essential principle of ethics. The results are
these analysis of the component brought to the dimension of a poem, in
which field of action grafts the dialog that with the renewed emblematic
reality which Picazio establishes.
Vito
Apuleo
At the analysis of work which merit a balanced
pondering, emerges that the painter has a physiognomy of his own, an
expressive autonomy which defines especially a magnificent and renewed
scan of light-dark becomes transparent, mysterious light, that dominates
and envelops the scene suggesting digression and competing the dramatic
tone of the subject already identified in the graphic operation. Here
is where the other particular aspects are revealed in the productions of
Picazio: the relationship between the drawings and color that seem to
dissolve on another in a fantastic balance.
Alfono
Malinconico
The fantasy of Picazio pounds, expands, deepens and
it rises without pause, signs of tumultuous existence of passion and of
tension, but also of taste that merits wide respect because it doesn’t
bursts at the expense of the whole pictorial design.
Raffaele Ricciardi
Pasquale Picazio Or Feelings of Beauty
Nourished, from the beginning of childhood, with
feelings of Beauty, Pasquale Picazio, who in the course of his immense
career has experimented with different technique and material, has never
betrayed his innate predilection for harmony in forms, of tonal rhythms,
and of composition. In this goal he has given deeper knowledge of the
anatomy to reach the “beautiful proportions in the figure;” of
colorimetric, for mastering the use of colors and of there associations;
of the perspective for obtaining the effect of depth on the bi
dimensional surface of the canvas.But all of this would be sticking to the details of
the precept if in him there weren’t a given natural talent, other than
creative pleasure, the capacity of realizing that “interior design” that
in each artist is formed when seized by “creative passion.”In the course of the years his production has
ranged from symbolist to experimental, from figurative to abstract,
etc… Remember that, abstract themes, Giulia Veronesi, in his Treaty on
topic, affirms to be abstract “not progressive simplification of the
natural image, but a progressive abstraction of it” with the inevitable
conclusion, add us, to create a new antinomy abstractionism/naturalism.
Instead Picazio, with his works, denies what was asserted above, indeed
is able to obtain significant synergistic effects in the marriage of the
two expressive forms that move in a timeless dialectical space in which
the light, now suffused, now accidental, creates suggestion, emotion,
sentiments.Particularly appreciated for the “nudes,” made,
however, with taste, original composition and chromatic harmony, the
artist is, also, a good portraitist, and would be otherwise seeing his
familiarity with the figuration and the physiognomic. Cornerstones of
a true professionalism, stand his passion for knowing and Beauty,
concrete or idea does not have importance, principle objective of his
artistic “doing” that can be given a little Light to our progressive
aesthetic society.
Giorgio
Tellan
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