Page 38 - May 2021 Litterateur
P. 38

On Salvino Catania's






                                                          Paintings






                                         Giacomo Cuttone, Italy




                   (...) A life, that of Salvino - in spite of those who, even in prestigious pages,

                   have compared him to the naive painter Ligabue - dedicated to art, making

                   it, over the years, perhaps, the only reason for his life, his world; without it,

                   surely, he could not live. An artist who is anything but "naive" (naïf, in fact),

                   deeply  cultured,  he  has  explored  and  investigated  all  the  languages   of
                   modern and contemporary art; from Impressionism to the historical avant-

                   garde of the first and second twentieth centuries, up to the most recent and,

                   by now, historicized "new artistic conjugations" (eg the Conceptual Art of
                   Piero  Manzoni).  The  creative-aesthetic-artistic  journey  of  S.  Catania,  as

                   evidenced  by  the  history  of  its  pictorial  production,  was  a  restless  but

                   original  reworking  transit  of  forms.  On  his  journey  into  art,  after  having
                   internalized  its  languages   and  techniques,  his  gaze  turned  elsewhere,

                   always  in  search  of  new  stimuli.  Its  function,  compared  to  the  good  that

                   circulated in the field of visual arts, was that of a hand guided by the know-

                   how  (po-ethical)  of  art  that  was  consciously  critical  and  proper.  He  knew
                   about the historical-artistic memory and, at the same time, had the ability

                   and  the  power  of  a  personal  stylistic  re-creative  medium.  Surely  Salvino

                   was  a  non-eclectic  "eclectic  painter",  or  rather  a  paradoxical  artist  figure.

                   His  tendency,  first  of  all,  was  to  explore  the  “inspirations”  and  the
                   realizations of the most diverse pictorial poetics, but as a trace; a trace from

                   which, in fact, he detached himself and marked with a sure step and his own

                   traits  the  artistic  bifurcation  that  expressed  the  existential  world  that
                   troubled  him.  His  painting,  in  fact,  shows  anything  but  spontaneism;  his

                   hand,  in  one  with  the  pre-figured  mental  flight  paths,  as  you  can  read

                   (between the lines of his artistic work), is anything but devoid of controlled
                   stylistic conscience. His iconographic repertoire is rich and varied, nothing

                   was foreign to him.


                   Some themes of his painting are not divorced from the artist's own (lived)

                   life: just think of the canvases with "christs". Here the suffering of body and
                   spirit,  pain  or  physical  torment  as  martyrdom,  as  well  as  passion  as  an

                   intense feeling, which has a decisive influence on man's thoughts, actions

                   and attitudes, become cartridges of dynamite (as Andrè would say Derain).


                  Litterateur                                          38





                             REDEFINING WORLD
                          EDITED BY SHAJIL ANTHRU
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