Modern impressionism and Romanticism Noir

There are people that appear to our eyes as exiles on the earth, people that immediately give the feeling to originate from a different reality from that that is usual; to approach them, to accept them, implicates, sometimes, the loss of our preconceived communes.

 

I believe both this the first reflection that is introduced me, observing not the man Roberto Bozzi, how much his painting: its works are the sign of a world of a reality, whose charm is in the ability of liberation that he knows how to provoke through the mediation of the pictorial work.

 

Roberto Bozzi paints of liberty, of space, it paints forms without weight, movements in speed, unheard of lightness, paints of lights, of tides, of vortexes, of winds, of so that, of skies, it paints of things without confinements, without definitions. But it also paints states of mind and dreams, internal needs and nightmares, it paints with mind partecipe, it turns the feeling into emotion and the molt in color and in light: he frayed it, he breaks it, he open wide it, tightens it,  darkens it,  illuminates it.

 

And it winds you: light and color together form vortexes, they go down in the depths, they are screwed upward, they flow parallel at the base of the picture and, while you are observing them, you feel that the perimeter, for great that is, it goes them narrow, that perhaps indeed the measures of this to paint they are not those usual, they are instead those of the unfathomable oceanic abysses where they unthread, fast and silent, sinuous presences.

 

They are the skies in which lightnings that  cross sudden electric-shocks and unexpected lacerations blaze, they cut the space segmenting the images.

 

It is a painting that belongs to the reality, at least for how much it represents of recognizable, classifiable, rilevabile, and nevertheless it varies, it escapes of it, perhaps for his to implicitly deny the subject, perhaps for his to challenge the physical laws, for that being of his aerial and immaterial, therefore highestly other: poetry, music, not already painting if it paints wants to also say to make the accounts with inactive subjects, heavy.

 

Yet Roberto Bozzi succeeds in making of his paint a something symphonic, a to chase each other of cromie rather than of sounds, in a kaleidoscope of strong colors, in which the black, the blue one, the red they stay to mark the fundamental harmonicas of a policromia in which the white or other unheard of lightings launch an acute. He works of inside Roberto Bozzi, on the images that he brings within in which the animals (fishes, birds, mammalian) are the true gentlemen of the space, rare the men, unless seems as many furniture and light (ballerinas or figures by now distant).

 

Every thematic choice is connected, however, from the same dynamism, from the same one expressive coherence and from a peer visionarity:  modern impressionism with a pinch of romanticism noir? Also, since there is culture and ability of reflection and personal appropriation this young painter, but also ability of overcoming of the realities in strength of an inside run that is pruned of what is accessory to bring us to the primitive generating energy, to the world of the nature, of which the man is infinitesimal part.

 

Tiziana Cordani 

Text published on the occasion of the personal show of the artist 

inaugurated to Cremona, to Grasselli Building,  January 10 th 1998