Mauro Di Silvestre's painting takes on the iconography of the mirage. A mirage that has the dual function ceremonial, to trace and to atone the existential their tracks. Mauro Di Silvestre tracks that exudes refined through glazing on the fabric of the work, represent a personal catharsis, which as noted by Achille Bonito Oliva has the cadence of Proustian memory and serving their precarious marble up to fulfill a desire of telling stories and distance. There is a basic cognitive tension in this transposition of photographic excerpts of childhood time to say with modesty or anxiety, the psychological substrate volunteer, so as to define the recollection of that there and then, as mnemonics practice that betrays fading as opposed to ' immanence of furniture, cars, buildings, tapestries, food, accessories newspapers dall'incorruttibilità invested which gives them the power of color and realistic on the border between figuration and deformation. There is an almost spiritual influence in the portrait of the artist, which would strip the figurative and pure as a reminder of the most intense existential sounds like a poetic research pencolante between the individual and the need for epistemological abstraction saving compared to a daily takes on the emotional iridescent forms in re-veiling, in re-bring to light reflective of the maturity of the chapters in a story which traces the whitewash that he follows to the root of human right to be there, to the essence artifice primigenio.Una gargantuan embodies vitality colors details of its tiny, monochromatic masses surrounded by a two-tier scenario between subject and object. The different levels, and the mnemonic that explored the contingency vie for the attention of the audience leaving him drunk on the threshold of perception logic, avoided taking shares in the interweaving of differing values \u200b\u200bon the sensory map of the work. It is in fact the embodiment of absence, the other word that Di Silvestre investigates and makes rhyming in unison with essence, reducing filigree insubstantial, dissolving into indecipherable endoscopy of the case. And they tend to deliberately turn positive only in the nuances of the creative or recreational mirage, as opposed to its borders dictated, the hic et nunc of imminent death or terrible realization almost paper ghost that hides in the footsteps of the plot or collective individualism: it does not matter.
Di Silvestre walking with closed eyes to his birthplace, with his eyes closed following the odor cues that bring him back to the essence of his soul. And you find all the items left, a day at sea, the corners of his ecstatic contemplation and playful. All things are symbols on which projects a desire to possess sybaritic, polymorphic energy ready to explode on the wall of an apartment vivid, or a backyard pool and ready to take the form of a beautiful tapestry or damask, which the mind perceives such, but in reality it is only the overlap the sumptuous fabric of a chair, away from home or as in The Lord Sunday (2006) where the fragility of the silhouette at the center of adult children stay indifferent and frantic trajectories. The iconography of Di Silvestre catches the glance, the reflection caught in the retina, visual typo leads to reflexivity if instills a dynamic reconfiguration in rhapsodic pauses derailment sensitive rendition of the surf that seemed lost forever. On the surface of the photographic visual memory imprints of past and present simultaneously shreds, impresses on the same frame that captures the residual halo instances empathic individual, freeing it to a later time synchronous scenario. Prophecy of an art which denotes eccentric. Art is a compendium of shadowy visions, but regains its dedication representative with the manual omnivorous artist who oppose the full vitality of his works to present a more anorexic aesthetic composition. The gesture Di Silvestre is wanted, smooth, controlled, is built on a Gothic embroidery of shapes and colors, separate the threshold concept by a glowing sense, bucolic painting multidimensional.
The iconography of the mirage in the labile square painting, aiming at a deliberately undefined voltage refers to the fact that Kierkegaard, tacitly asserting that the occasion, the miracle, or from the banality that can flourish sometimes it is the banality to contain within itself the miracle. The works of Vietnamese Din Q. Le, have with them, only linguistic affinity: embroider together in a virtual path of investigation, the daily life of today's Vietnam, and the epic drama of the war. But while the ghosts of the artist faces the eastern part of the universal world, shrouded in mystery hieratic, the fleeting shadows of a recurrence of the desirable aim Silvestre, cataloging a universe of private collegiate and carnival to be protected. It is an iconic reduction of the existential drama of humanity to a path of gaseous personal experience. The icons have the ethereal lightness specifying a fast transition to pop culture return. The transposition of pigmentation script-writing, material or human, branching like a collage or a patchwork that describes the infinite possibilities of language free from epistemic merely descriptive, turning to a style contaminated, not only more responsive to a balance of image, but breaking the image in the abstract, by enumerating the self-induced mirages in the desert habitat of the day. Silvestre looks forward to listening to opera, if anything, stretching to the slow course of existence where every step you time to appreciate the legacy that draws us towards a future recently dimidiato. According to the dictates
Platonic art is the pursuit of pleasure, according to Aristotle it is rather the phenomenon of knowledge, and implementing a narrative summary of this argument, the sudden painter draw a pictorial universe of elementary phenomena, where the fairness of the static context is driven by the surplus of the apparition. But the images of celebrating Silvestre dismisses it for delivery to a public gaze. It keeps her gaze from within the work to wonder about the non-unique response it arouses. As a spiritual message that celebrates the existing icon in itself, the man celebrated in its expression even trivial, Sliding through holographic projection. The appearance is camouflaged and partially underlies the purpose of technical achievement, given that the works have almost meticulous century. But then the figure of private body, or inconsistent with a body is stripped and saved only as pure distillation of the psyche and being. The flesh is removed, the ballast to represent the meaning intact, the essence, the pure distillation of contemporary art. So
its frequency accurately, Di Silvestre transcribes all the jerks, the surges, impulses, the beats, the traces of that experience which takes his leave and forget it forever, the result of a memory that is no longer just design, mirage , refraction iconography, but vital emotion arose spontaneously, revisiting the silence, boredom, walking into our homes, to the touch when brushing our alter ego, we give in memory and forgetful, the heterogeneous flow art with its allegations.
Giuseppe Di Bella
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