Angelo Vincenzo De Cillis (i)Reviews

Angelo Vincenzo De Cillis – cycle on San Paolo della Croce -Manduria (Ta)

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This painting is an open window on a kaleidoscopic human chaos where religious elements are coagulant presence, essential references.

It is the iconic translation of an existence in which the subjective dramatic condition of man in his solitude finds space for sharing and the feeling becomes choral.

There is in the artist an emotional energy of great thickness that translates into a poetic representation where the feelings of the characters are moments of a very intense pathos of which each is a single bearer, but which in the general context become awareness of a social need where the search for hope is the red thread that emerges and acts as a glue to the autonomous episodes.

There is almost a vibrant music that evolves between the folds of the representation, a melancholic rhapsody that moves attention to the story that takes place and focuses on the tones of different colors that frame the individual scenes.
Looking remotely at the painting, one can see optically the extended autonomous areas of red, blue, white, gray, colored portions with which the artist expresses a lively ferment, with which he recalls an aesthetic and constructive sense of representation to give order and vitality to a otherwise volume compressed by faces, bodies and figures.

It is a metaphor of the existential state of contemporary man that the artist makes universal and that binds to religious feeling not as a dogmatic function, but as presence and consciousness of life, where popular masses, religious orders, brotherhoods, ultimately all places daily, they are penetrated by the lifeblood that is religion, the substance of the civil and social fabric.

Men have a material consistency and a sentimentalism that evoke a plastic substratum of great cultural dialectics with the history of art so much so that there are not only contemporary suggestions that allow us to meditate on the great value of the artist.

There are various scenes in this “window on the courtyard” of social and religious existentialism, in the foreground we have a kind couple that almost wanders between self-love and everyday vanity, then we observe the glimpse of a desperate man’s hand to show us that we are behind a glass and we can not enter a world of despair, and we still find the women in this controversial humanity, now they are accomplices nuns, now old peasants, now ghosts obscured by the veils of dubious civil laws.

There is a gash in the center of the painting, a disturbing black space, opens between a woman in prayer and a cathedral, perhaps it is the gash of the soul? is it the way to show us that there are terrible caves inside us? maybe dark moments from which to guard?

Our humanity is an intense story that can move into an existence in which we are so many desperate faces or participate in life through awareness and the relationship with the things we believe in and have faith and above all share as elements of ethical values. (G. R.)

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