Exhibitions, Italy, Salerno, Agropoli, 16 August 2018
The last step of reason is to recognize that there are an infinite number of things that surpass it; and really owe it if it does not come to recognize it. '
(BLaise Pascal)
"Sing, o goddess, the wrath of Achilles son of Peleus, ruinous".
It all starts from the first line of our literature.
E'l'incipit.
An undefined female deity, the irrepressible menis, boundless and wild fury, becomes passion, a passion that nourishes the fire of inspiration.
At the roots of inspiration are the passions, the thirst for knowledge, the courtship of death, madness, the search for insane rationality.
At the beginning there is the exaltation, the fury: a work of art is really beautiful if composed with a sacred spirit.
Plato speaks of invasamento and mania coming from the Muses, which take possession of a tender and pure soul and draw it out of themselves in the Bacchic inspiration.
Cicero will speak of the inflammation of the soul and of the afflatus of fury: the artist rushes vitalistically into everything that becomes, in its most irrational dimension.
It is inspired.
He accepts his creativity and expresses it to the maximum, opposing himself to the reason and the limits that it imposes, loving his own creative folly.
A sudden glow envelops his mind and spreads from here over his entire work.
He expresses the human trials of his thought.
His soul sees beyond the constraints, beyond the limits of human common experience.
He loves wisdom.
He has the passion of knowledge, like Ulysses and Oedipus, like all men, who, says Aristotle, "naturally want to know".
The pure soul, says Leopardi, loves to escape from the sad reality with the "pleasant deception".
And here! The artist with his lightness, inspired by a harmony and an almost Dionysian rhythm, he brings his hand on the white canvas that welcomes an inspired energy.
Lorenzo Vicino speaks to himself.
His intense emotions interact with the outside world through a cutting-edge, divisionist technique, which alters everything but unites everything.
The creative and artistic gesture of Lorenzo Vicino strongly escapes the bridles of reason.
It makes the pictorial color vibrate on the canvases and lets us perceive the very high tension that exists between his soul and his body.
The passions materialize in a plasticity that is expressed in an always surprising originality.
The beauty of art gives impetus to his life.
Love is instinctual participation in becoming, which produces a state of pure ecstasy.
In the soul of the artist there is no break between life and dream, between love and life, between magic and madness, but it is in the coexistence of such principles that his artistic language finds its maximum expression.
Lorenzo Vicino, guided by his temperament, by the force of his existential motivation, by the constant search to penetrate the essence of things, wisely interprets and transfigures the soul of reality, even to become the interpreter of the meaning of life itself.
The artist in his works appears as the prophet of an art, which goes beyond the limits of human discernment and presents itself with the will to explain to us the human essence, the soul's background, to try to penetrate the secrets of nature as a great organism pulsating with emotions.
In this material experimentalism that blends colors and shapes together, the artist shows a vitality that animates the material, pulling the viewer into a unique experience, in which all the other senses and above all the mind are involved in addition to sight.
The work of art by Lorenzo Vicino, who manages to arouse a new emotion, experiments with visual languages outside the conventional, and is able to open up the realms of imagination and dreams and make the voice of the states of mood.
Art and psyche dominate in his art.
(BLaise Pascal)
"Sing, o goddess, the wrath of Achilles son of Peleus, ruinous".
It all starts from the first line of our literature.
E'l'incipit.
An undefined female deity, the irrepressible menis, boundless and wild fury, becomes passion, a passion that nourishes the fire of inspiration.
At the roots of inspiration are the passions, the thirst for knowledge, the courtship of death, madness, the search for insane rationality.
At the beginning there is the exaltation, the fury: a work of art is really beautiful if composed with a sacred spirit.
Plato speaks of invasamento and mania coming from the Muses, which take possession of a tender and pure soul and draw it out of themselves in the Bacchic inspiration.
Cicero will speak of the inflammation of the soul and of the afflatus of fury: the artist rushes vitalistically into everything that becomes, in its most irrational dimension.
It is inspired.
He accepts his creativity and expresses it to the maximum, opposing himself to the reason and the limits that it imposes, loving his own creative folly.
A sudden glow envelops his mind and spreads from here over his entire work.
He expresses the human trials of his thought.
His soul sees beyond the constraints, beyond the limits of human common experience.
He loves wisdom.
He has the passion of knowledge, like Ulysses and Oedipus, like all men, who, says Aristotle, "naturally want to know".
The pure soul, says Leopardi, loves to escape from the sad reality with the "pleasant deception".
And here! The artist with his lightness, inspired by a harmony and an almost Dionysian rhythm, he brings his hand on the white canvas that welcomes an inspired energy.
Lorenzo Vicino speaks to himself.
His intense emotions interact with the outside world through a cutting-edge, divisionist technique, which alters everything but unites everything.
The creative and artistic gesture of Lorenzo Vicino strongly escapes the bridles of reason.
It makes the pictorial color vibrate on the canvases and lets us perceive the very high tension that exists between his soul and his body.
The passions materialize in a plasticity that is expressed in an always surprising originality.
The beauty of art gives impetus to his life.
Love is instinctual participation in becoming, which produces a state of pure ecstasy.
In the soul of the artist there is no break between life and dream, between love and life, between magic and madness, but it is in the coexistence of such principles that his artistic language finds its maximum expression.
Lorenzo Vicino, guided by his temperament, by the force of his existential motivation, by the constant search to penetrate the essence of things, wisely interprets and transfigures the soul of reality, even to become the interpreter of the meaning of life itself.
The artist in his works appears as the prophet of an art, which goes beyond the limits of human discernment and presents itself with the will to explain to us the human essence, the soul's background, to try to penetrate the secrets of nature as a great organism pulsating with emotions.
In this material experimentalism that blends colors and shapes together, the artist shows a vitality that animates the material, pulling the viewer into a unique experience, in which all the other senses and above all the mind are involved in addition to sight.
The work of art by Lorenzo Vicino, who manages to arouse a new emotion, experiments with visual languages outside the conventional, and is able to open up the realms of imagination and dreams and make the voice of the states of mood.
Art and psyche dominate in his art.
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