Describing a great artist of the past becomes a moment of linear intellectual praxis because his stylistic pen has already settled into the habit of recognition, while dealing with a contemporary artist in vogue and successful becomes a dialogue more fascinating and at the same time more difficult.
Ciro Palumbo was born in Zurich in 1965 and at the time of my writing he is 54 years old and in the middle of a brilliant career. An artist with various international experiences and already much appreciated by the most important critics of our time.
Palumbo has a style that immediately transports us into the sublime, at the first moment in seeing it leaves an ancestral imprinting linked to the historical memory of art overturned on a new and personal poetics.
His figurative language is linked to the metaphysical school of Giorgio De Chirico, passing through Alberto Savinio until it enters the wake of Magrittan surrealism.
The continuous research pervades the emotional state of the great artists, who always have creative moments that bring differences, that bring scales of values.
In Ciro Palumbo there is a disconcerting genius that lies in his continuous evolution, he manages to transform his style by giving new poetics but still leaving a point of support, something that makes his art familiar and recognizable, that something that brings him to the historicity, to the fulfillment of the self-awareness of being the creator of his time.
What transpires from the dreamy/surreal journey that Ciro Palumbo offers us is the identification of a construct of individual consciousness through the teaching of the aesthetic sense.
In Palumbo’s canvases we find warm colours, strong contrasts, which are combined with a drawing and a clear line, reverberations between lights and shadows.
He is an artist who stylistically finds his great maturity in dealing with the themes of classical statuary in a contemporary plastic version.
The metaphysics of Ciro Palumbo is not immortal because it is as immobile as that of Girorgio De Chirico, it is infinite and therefore alive because it passes beyond the very paradoxes of objectivity, it is an eschatological reference to the most intersected planes of consciousness.
Ciro Palumbo gives us back the dream of art, of true art, that which is always in connection with nature, with imitation, to carry us through allusions, allegories, symbols, in real auras or sunsets, in real everyday landscapes, in the real touch of the wind.
The touch of good, which is the antithesis to everyday evil, lies in the re-proposition of the myth of which we have certainty in the works of Palumbo, man becomes the hero of his dreams, but does not remain in a dream but vision and mission in reality, the dream is what we live and build not remaining motionless, being architects of our destiny.
Ciro Palumbo deals with philosophical themes of great importance that are transferred to the world through an immediate communication of his art, if there is a moment of perplexity in approaching his works is because the instrument with which he tries is the one most related to unconscious, his creativity brings us to confront with our memories, our models, our contemporary anthropic reflection.
We are constantly searching for a mystery, because through what we do not know we are pushed to go beyond the barriers, we are faced with choices, Ciro Palumbo gives us an art that traces the furrows in which you can choose a direction, gives us aesthetic motivations, gives us signals of life.
The visions of Ciro Palumbo, his characters, his ideas, are like almost a platonic tale where the reality of objects is a semblance so we are led to find the truth:
“In the knowable world, the extreme and difficult point to see is the idea of goodness; but when we have seen it, reason leads us to consider it for everyone the cause of all that is upright and beautiful, and in the visible world it generates light and the sovereign of light, in the intelligible, it spreads itself, as sovereign, truth and intellect. -Platon, The Republic-