Summary of the exhibition of digital art, called Contemporary Nuraghe and set up at the F.R.A.C. Regional Fund contemporary art of Baronissi (SA). On display of about thirty large and medium-sized works of the cycle of the same name, which has been created since 2004.
The cycle is articulated through different compositions of an urban iconography of the so-called car cemeteries, which reduced to carcasses end up stacked in a pyramidal sense. For several reasons, creative thinking is directed towards the functional enigma of the Megalithic Nuragas, which we consider the first metaphysical monuments. Moreover, the concrete possibility of defining Le Nuraghe burial sites strongly contributes to creating an atmosphere inserted into a typically metaphysical artistic dimension.
Such as the car cemetery metaphysical term. In the scene the real protagonist is the solitude that snakes through the carcasses of old demolished cars that until a few years ago populated the cities. The little light is punctuated by some space that has created unwanted cars. The cockpits of the cars guard with a grave jealousjealousy an infinity of memories; loves, confessions, sex, betrayals, violence, …….
Digital art operational technique
In practical implementation, the operational path has developed a double final result: digital panels: photocomposites and mixed technique. For the panel the realization is completely digital. In mixed technique, the initial structure consists of a black-and-white photographic setting on a canvas. Subsequently, the chromatic intervention takes over, with the oil colors, which programmed
previously it must penetrate with calibrated violence the matter. The common thread that unifies the two realizations is the metaphysical essence of content that gradually must arouse an anxiety, a subtle and frosty anguish and must reign a single undisputed protagonist: loneliness.
Overall, there is a concrete correspondence of the actual realization of the event with the previous programming. The main objective of developing, in the observer, the perceptual function of expressive message, following activating capacity for criticism and reflection has been fully achieved. The constant element of this exhibition is to be present in each exhibit. Consequentially the works on display are an end in themselves but all together they branch out creating, through a common glue, an aesthetic-expressive process of contemporary art.
The critical profile, included in the catalog, was edited by Professor Ada Patrizia Fiorillo, holder of the chair of contemporary Art History University of Ferrara. The Artistic Directorate of the F.R.A.C. Center in Baronissi (SA) is headed by Professor. Massimo Bignardi holds the chair of the History of Contemporary Art at the Faculty of Letters and Philosophy and the School of Specialization in the History of the Art of the Unive
By Ada Patrizia Fiorillo
Since 2 years Pasquale Petrucci has been working to a cycle which he has titled Nuraghe
Contemporanee .For this cycle he resorts, nearly with obsession, to the imagery of a urban iconography , that of the so-called “breaker’s yard”, stocked cars that, take up outskirts areas of the city and that belong to the “geography of the look”.
According to me they are compositions, created at the light of a temporary break up:
basically pictures that the artist has memorized, and to which he returns as a photograph,
according to the prospective of a stiff composition, but now with the thought addressed to
that ancient house-fort made of heavy stones that look like a cut-off cones. “Nuraghe
Contemporanee” exactly on whose immobility intervenes the charm of the typical lexicon
and layout of the “Metaphysical Movement” which the artist reconsiders in a lot of
occasions, as a guide-detail of his own creative track. Except that, you than have to realize
that his compositions are the result of precise “digital manipulations”. Basically, to specify
what I had already said, the artist works in a double time which pushes him back, to
reconsider the message of “ De Chirico” until take it an as main pattern of these pictures,
and at the same time, that pushes him forward, arriving at these narrations through the
most recent practise of “virtual elaboration”. Nothing strange, considering that it deals, on
one hand, with the contents and, on the other hand, with the shapes. However, I would like to re-read Petrucci’s experiences without a direct involvement, and without some delicate references that could be dangerous for the topical of his studies, and, on the contrary, placing the “metaphysical painting” only an a suggestion level, because the charm of that movement and of the reasons that generated it with those expressive means that entered the mystery of the reality, nowadays are certainly unrepeatable. However, it could be found, in Petrucci’s pictures, an original ability to compare himself to the daily, and to “pick”, through a pre-chosen image, the uneasiness , the discomfort, and the tension that characterized a lot of existences, and not only the own. In some way, Petrucci addressed his attention to a “landscape” that the XX century has returned us as a technological and urban image, concentrating himself only on a fragment and not on the whole which is, nowadays, indefinite and indeterminate. So it would be completely impossible to paint the reality as a close image or at least as an image logically tied with the development of History. Probably, it is just regarding this state of conscience, tied to the subjective perception of the landscape in which we are dipped, that it should be read the artist’s inclination to the repetition of the “chosen” subject, which is nearly a kind of cohesion, encouraged by the expressive means. In fact, as I had already said, Petrucci has chosen the language of the “medialità”, as main technique of these works, that now they take the value of pictures both if they are realized with the “Tecnica mista” obtained thanks the union of Photography and oil-paints, and if they are realized with that technique that ha calls “Fotocomposizione” obtained only thanks the “digital technique”. And, the latter is not a change choice, but it is suggested by the necessity to communicate. In fact in this cycle there are some very meaningfully works, as Composizione NV 033, Elemento modulare viola, Equilibrio rossi ,Clessidre, Fuego, all of 2005, where the artist “plays” with the interference of the chromatic modulation, a basic element of these compositions, that he collects and, at the same time, distributes according it to the different prospective of the same subject (the demolished cars) following sometimes the light of precarious vertical equilibriums, and sometimes the
Perpendicular of an horizontal line, until the accumulation (the ascetic attraction of the
mountain) or until filling the whole page, as in Fuego. The latter is one of the most
intriguing works of the cycle, where the subject becomes a symbol, used beyond his
decorative value, as the key of a picture of an impenetrable landscape. They are landscapes in mind, on which, in order to sharpen the perception of the adulterated, intervenes the cold light of the monitor which is able to level it, although the chromatic drawings up: sharp background paintings of Red and Black, of Green and Blue, of Grey and Blue, of Yellow and Red, beautifully studied in the dosage of colour and in the tones. They are the same colours became animated that reappear in the “technical mist” where Petrucci avails himself of the paint brushes, in order to fill up, with the substance of the oil-paints, the empty spaces that have been created during the photographic recording of the subject. Conceptually, the escape from a possible “Horror vacui” is tied to a technical variation that suggests again, for this” landscape” ,the exercise of the Painting from which the artist is left and that he has never forgotten, until recovering it with greater evidence, in the last works inserted in this cycle, too. This last works are born from the interaction among more languages; and it is simple to notice that this Painting of solid and lively coloured geometries, of empty bodies, and of harmonies, just alluded (the recurrent Trumpet), breaks off the silence from which started the troubling ”Nuraghe”. It “disorders the original order”. That same order through which Petrucci has insinuated the own perception of the enigmatic reality, considering it loads with a strong existential tension. And, this is a detail that has supported the greater part of the cycle. In fact, it is just leaving from this strange push that the artist has “opened the eyes” on the contemporary World, to which he has manipulated the connotation of landscape, nearly running after the omen of its destruction.
“One of stronger and deeper feeling that the pre-history have left us is the feeling of the omen. That feeling will always exist. It is like an eternal proof of the no-sense of the Universe. The first Human Being must had seen omens everywhere, and he must had frightened at every step”
Giorgio De Chirico
The “Feeling of the Omen” inherent to the pre-historical Art, does a charming link with my “Nuraghe Contemporanee”, definition that I have do to these huge ”mountains” made of stocked cars that usually are in the car storage. Not so for the city-centre, they are inserted in an urban architectural context and they belong to our daily reality. The megalithic monuments, have been keeping, since centuries, a secret: theirs real function. And the hypotheses about an eventual use-function of the”Nuraghe” push me to consider them like the first Metaphysical monument of the World.
In particular, a construction towards the sky suggests a link between Earth and Sky -that isbetween alive world and dead world. This existential enigma has been placed as foundation of the De Chirico’s Art.
Besides, the real possibility to think at the “Nuraghe” as a place of “cult and burying“ contributes to create a verymetaphysical atmosphere. A similar atmosphere is also diffused in the car storage, or, in order to define them with a metaphysical term, “breaker’s yard”. On the scene, the real protagonist is the loneliness which slithers among the old demolished cars that, until some years ago, “lived” along the urban streets. The scene that is shown is nearly spectral. A little light goes only through some spaces that have been involuntary created among the cars.
The car insides keep jealously, as a grave, infinity of: loves, confessions, abuses, betrayals, sex, collaborations, oaths, understandings, deceits, agreements, councils, regrets, wishes, declarations, insults, thoughts, adventures, and so on.Memories of a life, recorded on the seats, in the dashboard or in the drawer of the door that cannot vanish. On the contrary, they will always remain and they will become permanent. Memories that “have been put”, one over to the other, in a pyramidal shape. They have been joined in order to create an energy, that feeds these huge mountain of stocked cars; the “Nuraghe Contemporanee”.
prof. Pasquale Petrucci
rsity of Siena.