Quiet in transit
There is in art, in literature as in painting, a dimension of the memory of something that is not, a split between the past and the possibility by its nature destined to settle in a dimension of undefined, pleasent melancholy that spreads like a shadow in the present. After such a statement – in other time consumed by the romantic tradition, then so to speak legitimated again by the current and flagrant disregard for everything that is slow, thoughtful, secluded – the possible slide into the ingenuous sentimental is fortunately avoided by painters and poets’ direct works. It is therefore thought, among the latter, Novalis, and his making a bridge between the arts in speech, «as the painter sees visible objects with completely different eyes than the common man, so also the poet learns the events of the external and internal world in every different way than the common man» (fragment No. 1120).
About painters, here we want to speak for at least a little of a young Roman artist, Federico Mazza, for some years focused in the creation of a complex series of landscape views from intimate and elusive tones, Transit.
In these paintings the dimension of impermanence dissolves in diffused forms, pale oil colours wisely veiled courting both the amorphous and elusive. The first impression, in fact, is that the painting intends to enclose the quickly lost, get loose from the retina of the look in the instant.
However, staring at the pictures of these places of silence and darkness rises gradually the impression that it is perhaps to be done in the course of a world we are more properly seeing, and we can only be grateful to its author for the warm feeling of slow creation that it yields, as a rise of things. It happens so, the curious derivation of a sense of calm from what usually less belongs, the movement, and it is in it that, we believe, lies also the most typical part of Federico Mazza’s art. Different names for the new Italian painting, in fact, may occur when we pass to consider the current relationship between landscape and melancholy: consider, for example, the excellent Alberto Zamboni or even the very celebrated (afterhis presence at the Biennale in Venice) Luca Pignatelli. In the case of Mazza, nevertheless, is absolutely unique the ability to capture not so much the suspended fixity of a figure in the landscape as a stillness in motion, opening the view on an ordinary chaos as what filters through the window of a train or a car underway, and that in its daily embrace closes us maybe along the way home without we can perceiving it. A chaos made of objects made visible to other eyes, those of the artist, and that in the order of painting compose in a measure of resonant silence.
(EQUIPèCO n° 23, march 2010)
Real Spaces that have a sense only inside us, full filled of silence, disturbing silence, they caught the moment right before or right after an action, it feels almost obligatory to hold your breath to understand better the flowing instant of what has happened and we won’t ever know. Places seen, filtered and transformed by the artist to then recollect them in the painting, fragments of memory that hide the artist’s referents and invite us to observe and explore them with caution. Fragments t reconnect infinitively, like an invisible line transporting a message that mutates, it never really reveals completely to the audience. Behind a good technical preparation, there is the need of a search, this painting exist thanks after a process of observation that touches the various study fields, from the scientific one to the pure emotional one.
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