Page 7 - La Biennale di Venezia 2022 issue of World of Art Contemporary Art Magazine
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anthropological and cultural territory that is exquisitely   referring to indescribable states and metal conditions
         Italian. From the point of view of visual language,   captured in the absolute.
         Cucchi’s paintings seem to be inspired by Scipione   Through the alternate use of geometric and organic
         and Licini. The young artist’s use of color as smudge is   signs, the language used is both the manifestation and
         influenced by Scipione, while the dynamic sense of space   internalization of the artist’s sensitive state, and as an
         and the freedom to place the figurative elements outside   instrument of song and lyrical representation.
         any naturalistic reference are reminiscent of Licini. The
         space of the painting or of the paper is not a background   Mimmo Paladino’s work is surface painting. He is a
         for the image, but an emanation and a source of energy   proponent of surface as the only possible profundity.
         in itself. The concept is that of an art that adheres to   Thus all the most manifest data of sensibility emerge
         things while at the same time setting in motion a chain   visibly, making cultural allusions and deep-seated inner
         of mobile contacts and relationships to the extent of   references to the psychological condition. Painting
         transfiguring them into signs of another position, that of   becomes the place where subtle, intangible motives are
         a “dynamic landing”, where high and low coincide.    translated into image. Signs from the abstract traditions,
                                                              influenced by the works of Kandinsky and Klee, and more
         Nicola De Maria transcends the boundary between the   pompous signs in the figurative vein intertwine into a
         frame of the painting and the surrounding space; his   single, organic motif.
         visual field is the meeting place of many references.
         Painting is a tool to represent the progressive shifting   The different moods of sensibility are thus condensed
         of sensibility. Mental state and psychological state   and offer the possibility of free association. The
         fuse in an image that operates by the fragmentation of   rarefication of each different mood, mental and material,
         visual data. The result is a sort of interior architecture   finds its rightful place on the surface. Paladino is never
         containing all the resonances and emotions embodied   autobiographical, as everything becomes a pretext
         within the work.                                     for painting. The geometry of the sign is immediately
                                                              disrupted by the myriad figurative elements integrating
         Each fragment lives a system of fluid relationships; there   gently into the rest of the composition, without leaps of
         are no privileged or central points. De Maria replaces   chromatic tone.
         the notion of space with that of a field, a dynamic and
         network of relationships rich in potential whose visual   The idea underpinning the image is that of the fragment,
         constant is abstraction. They share the same movement   of detail dilating and aggregating into another detail. The
         as music; there are no pauses, but an enveloping     mood sustaining the composition and the overall state
         continuum of signs, an environmental painting        of the painting is fortified by references to languages
         incessantly referring to a single rhythm, a single beat,   derived from the history of art. The surface of the picture
         that of pure subjectivity.                           becomes the explicit threshold of the image, even when
                                                              the latter seems to extend beyond the confines of the
         The architecture of the work is flexible, each time   frame and the wall. Signs are ciphers that color and
         supporting the space within which it sets itself.    decorate the skin of the painting.
         Concreteness and rarefication alternate via the                                       Achille Bonito Oliva
         juxtaposition of painted wood elements marking out       Art critic and historian of contemporary art, one of the most
                                                               important art critics and curators of the 20th and 21st centuries.
         the environment, and compact areas of color silently
                                                                 First published: © World of Art – Contemporary Art Magazine,  pg.47–47, Issue 6, vol 3, 2003
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