Critics / Press

  • Hidden Canvases

    To caress a thought, to wander within the clouds of fantasy, to daydream and find oneself making a toast, on the edge of a pathway that has already been traced by someone else (almost as a photocopied ritual of a reiteration of a life, handed down from generation to generation) in the same elliptical itinerary, where it is possible to ride the whirlwind of the most unbridled fantasy that only absolute love, with its infinite emotions, can offer to a select few, to be transmitted with the ingenuity of a child or with the arrogance of an adult in a story that, from its first few lines, ignites curiosity and leads the reader to continue with joyful emotion that leads to expand the boundaries of the imagination to enter an unreal reality in which anything is possible, is the equivalent of riding the carousel horse of our childhood from which we would never have gotten off.

    Spaces, scenarios and situations, at times paradoxical, are multiplied in the poetic propensity of Chinnici, transforming the path of his life experience into a magical labyrinth, in which it is difficult to get lost, because Diego Celi has the rare ability to virtually take the reader by hand and to carry them, in his own way of reliving multiple sensations of two lives… in a path that is sometimes parallel and at other times in total contrast, in which Art prevails and contributes to ironing out any kind of obstacle.

    A swirl of bright colours that often contributes to mend small and large family disputes that, as sparks, occur between father and son, triggering small generational cataclysms fuelled by problems that sometimes go unresolved and that remain eternally suspended in a confused alternation of feelings, of questions without adequate and convincing answers, and of long silences.

    A ritual and genetic game have sown a plethora of variants in an emblematic path of family and artistic misunderstandings, in which Art and the great passion for it, end up filling every specious divergence thanks to the power of love.

    Metric, rhythm, colour and harmony all merge to transmit emotions; at the same time simple and complex, that Lorenzo proposes in "dissimilarity" from what was suggested by Wilbur Smith: "Write for yourself, not for a perceived audience", with the joyful intent of communicating, possibly with the whole world, only for the pleasure of doing so and to spread, like a great conductor, a pinch of joy and sadness, mixed wisely with life on the sublime notes of: Nocturne in E flat major by Chopin, able to calmly support the flight of a kite that turns out to be a "prisoner" of the thread that holds it and that, by accepting this condition, manages to discover that the meaning of happiness, sometimes, can be perceived thanks to one’s willingness to soar up in the sky guided by those who have already wisely flown before us.

    José Van Roy Dalí

  • Fisherman: the sculptural plasticism of Lorenzo Chinnici

    Genre scenes are those imprinted in the works of the Fisherman series by Lorenzo Chinnici, a Sicilian artist initiated into art by Renato Guttuso. The artist's works narrate glimpses of his beloved Sicily, Chinnici through the chromatic material synthesizes a narration from which emerges the "need" of art as the voice of one's soul.

    Fisherman, a series dedicated to the activity of fishermen, where the artist gives attention to the naturilastic datum of Carraccesca matrix, depicting the work of fishing driven by the intent to give life to a series of works that, not only show those landscape views that celebrate his land, but also focusing on attention to the human figure. Flowing into the study of the human body through that sculptural plasticism enhanced by the study of light, in fact in some works of the series the artist succeeds in the masterful rendering of light that accentuates the musculature.

    And so the light embodies a double value: coming from the other, it becomes a divine light, reinforcing the importance of work in daily life. Chinnici seems to look at Michelangioleschi's sketches and then readjust the study of bodies to his personal vision, following his own matrix of thought that configures the human being in a naturalistic context, highlighting his daily efforts.

    Technically, the compositions of the series have a pyramidal structure whose apex is often the human figure or the boat to be towed to shore, further emphasizing the interest in figurative study.

    Genre scenes that the artist animates according to his sensitivity resulting in the meticulous study of landscape details where the human being coexists with the narration of the natural landscape, recalling the evocative views of the sixteenth-century artist Giorgio da Castelfranco known as Giorgione. The dynamism typical of Renato Guttuso's neorealist works also emerges.

    The ability to synthesize Renaissance art in a contemporary key is extraordinary, where the chromatic backgrounds are animated by the artist's sensitivity, the result of an attentive pictorial investigation that Lorenzo Chinnici has conducted all his life and which permeates the intrinsic matrix of his thought on the history of humanity that hovers in its representations.

    Elisabetta La Rosa