A work of art is often a question mark in front of which one ponders, knowing that there will probably never be an answer. Clues there are, however. Through art shatters before our eyes worlds and traditions that the beholder makes his own. So what does art ask of the beholder and what does the beholder ask of art? All works leave something behind, modify tastes, enrich knowledge. They tell and they tell.
"Three ways to say the same thing. Three ways to say painting. This is what the exhibition is about. Each painter is both an affirmation of a way of painting and an implicit critique of everything that has been painted to date. And there is nothing more electrifying than a new generation emerging, bringing in new forms, new feelings, and cleaning up everything that is now silent. Three young painters, coming out of the Brera Academy of Fine Arts, present themselves on the Italian scene. Martina Cassatella, Roberto de Pinto, Emilio Gola. Three painters different from each other, but united by a common spirit.Three ways to say a new painting, without guilt, without inferiority complexes compared to other languages," explains Antonio Grulli curator of the exhibition at the Milan spaces of ArtNoble.
Gleams of light, summer warmth and tangled bodies.
They are shadows crossed by light those evoked by Cassatella: glimmers emerging from the darkness. The gaze is from within, energy shining and enclosing. Summer warmth urges de Pinto's figures to take off their tank tops, to stand in their costumes, to uncover their skin, which, naked and imperfect, is exposed to the sun's rays: rough and sweaty, it burns and colors itself with clay soils, it is smeared with charcoal; the reds and blacks of the figures of the ancient vases. Gola's painting is a painting that happened by itself. Three bodies tangle, mingle and melt. Found objects, which inhabit the studio where he works, complete the composition of his works.
Color as the core of light
"Martina's painting is made of hands, light and hair. In each painting they are declined and recombined differently. Three elements that allow us to investigate the way in which painting manages to become plastic form, the way in which color becomes a nucleus of light, and the way in which the abstract line can be a figure capable of activating and destabilizing the pictorial surface, going on to create intense phantasmal figures," Grulli tells
Alter ego of the artist
"Roberto populates the canvas with bodies from the deep Mediterranean. They are alter egos of the painter, idle, immersed in water or in the shadows of vegetation; sometimes only a part of the faces or an anatomical detail emerges, sometimes they are depicted in little busy groups, perhaps because of the heat. The techniques he uses, encaustic and pastels, become erotic about the skin, the tans, the shadows on the bodies."
"Emilio is point, line and surface. The bodies of the friends create temporary constellations in continuous reformulation; recurring pictorial motifs rendered through textures made through the use of tools foreign to painting, to which are added lines charged with kinetic energy capable of synthesizing the dynamics of the bodies, and pictorial surfaces through which the lines and points of the textures are enhanced."