Exhibitions, Italy, Roma, 04 April 2013
The search for Enzo Cursaro was developed with the utmost consistency in the boundaries of painting, an area in which it has always found stimulus and motivation for new experiments, arriving at the definition of operability in whose thinking and practices are inevitably joint, because the artist there is no difference between thought and action relating thereto. The painting is in fact a tool of investigation and verification, chosen to express the demands of a life in which creativity has found the possibility of dissolving the limit of everyday life, to hunt down the infinite continuously by competing with itself.
From these considerations, it is not difficult to understand that the painting should be understood as conceptually complex language, in which different experiences overlap, intertwine and blend together, to return the articulation of reality and go beyond the ' ephemeral appearance of things, following the thread of a fluid sensitivity, yet able to relate dialectically to the solid system of rationality.
Consequently, the space of the painting itself as the place where you can sort by criteria hierarchical reason and feeling, perception and imagination. Each fact is structured according to the ways that are specific to trigger a mechanism of cross-references and equivalents, suggesting a time of fruition interwoven with expectations, pauses and silences, forcing the eye to slow down before diving in the absoluteness of a horizon, can never be embraced in its entirety.
These assumptions on the one hand led Cursaro affirmation of a problematic nature of research, on the other led him to essentialize the language structure in a progressive simplification of form, which eliminates any excess makes it look easy as what it is not . Programmatically, the artist moves between two opposing assertions, the elementary and complexity, to create a dynamic equilibrium, which allowed him to overcome any predisposition denotative, so test the possibility of a subjective reason reduced to its limits.
The chromatic material, abandoned the pervading exuberance that seemed to substantiate un'effusiva inclination vitalistic, becomes diaphanous veil, as worn by the passage of time, to cover a complex of signs and increase the clarity of an elementary form, evocative and at the same time alienating the Its geometric effect. The almost monochrome surfaces, although sometimes a sudden accent tone breaks weaving, are harnessed by a fine and almost imperceptible network of lines drawn in graphite, for dialogue with the space, which has become immeasurable extension, in which the eye may be lost. The grids lead to color gradually rarefied that of an additive, as if lines and chromatic surfaces is rinforzassero each other, so that the first seem to become armor whole painting.
The works then you have to look as perfect scores, in which the visual structure suggests that there is always somewhere else. The painting is sublimated in a constructive process of analysis tautological, eliminating any value that ends up sensual exalt even the slightest variations in texture, thick, tone or timbre, evoking inescapable similarities between the visible and invisible. Despite the decline, the result is never cold, but always engaging in un'ariosità that surprises and catches the eye, leading him along other lines deep.
In respect for the inherent nature of the materials used: graphite, acrylic, canvas, chosen to substantiate the achievement of a new operational awareness, Cursaro, in fact, built a path to clarity, to check the statutes of a language you can always reserve for new ideas and opportunities for reflection, because not yet fully encrypted.
Loredana Rea
From these considerations, it is not difficult to understand that the painting should be understood as conceptually complex language, in which different experiences overlap, intertwine and blend together, to return the articulation of reality and go beyond the ' ephemeral appearance of things, following the thread of a fluid sensitivity, yet able to relate dialectically to the solid system of rationality.
Consequently, the space of the painting itself as the place where you can sort by criteria hierarchical reason and feeling, perception and imagination. Each fact is structured according to the ways that are specific to trigger a mechanism of cross-references and equivalents, suggesting a time of fruition interwoven with expectations, pauses and silences, forcing the eye to slow down before diving in the absoluteness of a horizon, can never be embraced in its entirety.
These assumptions on the one hand led Cursaro affirmation of a problematic nature of research, on the other led him to essentialize the language structure in a progressive simplification of form, which eliminates any excess makes it look easy as what it is not . Programmatically, the artist moves between two opposing assertions, the elementary and complexity, to create a dynamic equilibrium, which allowed him to overcome any predisposition denotative, so test the possibility of a subjective reason reduced to its limits.
The chromatic material, abandoned the pervading exuberance that seemed to substantiate un'effusiva inclination vitalistic, becomes diaphanous veil, as worn by the passage of time, to cover a complex of signs and increase the clarity of an elementary form, evocative and at the same time alienating the Its geometric effect. The almost monochrome surfaces, although sometimes a sudden accent tone breaks weaving, are harnessed by a fine and almost imperceptible network of lines drawn in graphite, for dialogue with the space, which has become immeasurable extension, in which the eye may be lost. The grids lead to color gradually rarefied that of an additive, as if lines and chromatic surfaces is rinforzassero each other, so that the first seem to become armor whole painting.
The works then you have to look as perfect scores, in which the visual structure suggests that there is always somewhere else. The painting is sublimated in a constructive process of analysis tautological, eliminating any value that ends up sensual exalt even the slightest variations in texture, thick, tone or timbre, evoking inescapable similarities between the visible and invisible. Despite the decline, the result is never cold, but always engaging in un'ariosità that surprises and catches the eye, leading him along other lines deep.
In respect for the inherent nature of the materials used: graphite, acrylic, canvas, chosen to substantiate the achievement of a new operational awareness, Cursaro, in fact, built a path to clarity, to check the statutes of a language you can always reserve for new ideas and opportunities for reflection, because not yet fully encrypted.
Loredana Rea
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