Pasquale Picazio




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Artist's Opinion

What Critics Say

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