GIOVANNI TRUNCELLITO MARIA il noto ritratto della Callas - olio su tela cm 30 x 40 - click to enlarge
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Duccio Trombadori

The centre of the composition is always an eye, avid in its circular motion paying attention to capture all forms of chromatic and formal importance. And it is the eye, like a tiara, or a fiery sun, or the base of drapery which has just been moved by a gust of air, which returns to formally observe the works that Giovanni Truncellito offers us, painted but not composed in a detached vision. These products of his fantasy appear to be a residue of experience, the description of a personal journey to hell performed with the pathos of who appears to be still under the effect of the experience. In fact Truncellito combines his figurative knowledge to create a theatre which does not present a vaguely allusive and parlour room type mythology. The intentionally elegant tracts do not interest him as much as the urgency to explain a way of hearing or of observing. A similar energy motivates vision and pushes the author towards an existentially shared narration, where the senses are the masters, which are taken to the limits of imperious questions as radical as they are unanswerable. In these paintings there is an echo of a decadence revisited in a way respective to who distinguishes the neo-pagan trick of exhibited and evoked sumptuousness. And if one goes even further, one obtains a perturbing effect from the image, a long way from simple hedonistic pleasure. This is how, in a painting of pre-Raphaelite grace, one is able to encounter passages of direct and strong colour, very distant from the sentimental analysis and closer to the perturbed fabulism of a Savinio surrealism or to the combination which normally only a sensitivity educated according to post-modern thoughts is able to narrate. In this sense, the arabesque of vague backgrounds blinding with cosmic light, where the sky and earth combine in an inedited celestial pattern, wraps in a most contrasting way the emerging of the human bodies which are suspended in space but clearly distinctive: women with a matronly air, Demetre showing the abundance of her breasts and male bodies, wandering, lost in the mystery of a mortal adventure which illustrates a initiatory cycle. Truncellito is an artist of romantic temperament. He imposes sentiment on the shapes and for this reason the rays of his reds, his yellows and his blues are not limited to a simply decorative image. Certain recurrent waves emerge in the composition, which never relent the circular motion of the eye and express the fixation of a glance, the enunciated parable of a body, the mineral force of a human figure freed from a symbol. It is clear that the art becomes nearly a pretext, or rather, the servant of a reign of mysteries still to be discovered. The Pompeian tracts of certain figures, so parietal in their disposition - like Orfeo, or Algida Voce or Idillio takes us to a first in the chromatic atmosphere which does not admit correspondences or analogies. We are isolated in a mute scene where life seems to reproduce its drama as in a mirror: the dialect of the sexes and their metamorphosis are exhibited in the figures of a youth without age, with ultra mundane landscapes, where Ganimede and Giove in the form of an Eagle repeat in a spiral motion the circular principle that characterises the formal and expressive positions of Truncellito. But what produces a particular marvel is the effect of an ambience where all acoustic sound has suddenly disappeared: the scene is mute, but nevertheless a drama is taking place, in a cataclysmic atmosphere, in sidereal locations where it is difficult to distinguish the man of God from the man of the devil. This expressionism of the figuration which suffocates a scream from the moment it is enunciated is a well defined style which enhances the homage to "bel canto" translated by Truncellito into a fable of lines and colours. Art can imitate music only in the total compression of sound. Its lyricism consists in the creation of a visible place subtracted from exceeding the limits of expression, where the images reign over all, yielding to the "natural". In the shapes we can perceive all the required correspondences and languor which play internally in mental music. The colour red is extremely important to Truncellito: an imperial colour, extremely difficult to mould, a colour of life which often leads to excess and takes human beings beyond the point consented by divinity. The red appears as the embers of a cosmic invasion in an enigmatic form, or vests the shadow of Medea with no face, in acts of mournful vital torture, and again fills a lavic cypress form spouting from an incandescent background and from which the capturing God takes flight with cobalt plumes. Red again are the tiaras, the drapery that accompany the posture of archetypal figures, of "palace" origin where unexpressed rituals are celebrated, and the atmosphere of attendance is exalted, the sensation that something is to shortly occur, the beginning of a drama with no finale. The motif of the sun, of the eye, of the concentric spiral attracting ones glance all resolve in a triumph of the colour red in the presence of the "dolce e calmo" painting in which the composed figure of a woman sustains a metamorphosis of shapes, air, earth and sky all ready to dissolve the figure of a man in their iridescent elements. It is maybe here that the specific style is better expressed as it intends to represent the silent drama of life, which words, and therefore sound, enunciate only partly. The artist Truncellito pays homage clearly in "mito" and "bel canto" with the added value of an image which does not limit itself to illustration or allusion, but enters into the centre of its creation taking shape from the lines and colours. In this sense Truncellito's scenographic repertoire is nearly a restraint or a limit to the exuberance of his expressive intention. The architectonic bodies, the human figures, the apocalyptic parables end up measuring their stride with a visual inspiration which aims to exuberate in the poetic informality, to the limit of self-destruction, the mystery to which the artist dedicates the votive temple of his expressivity is maybe contained in that indistinct and chaotic splendour that the destiny of man cries for when, from the magma, it attempts to emerge in a precarious identity. The tragedy of Medea, who painfully pays the price of becoming too human; and the tragedy of love, where men and women pay for the impossibility of an authentic recomposition. Maria Callas entrusted to the sound of her voice the recalling power of an echo so close to the secret drama of existence. And Trucellito with his artistic and silent performance has depicted that ultra mundane singing, attempting to imagine the place that it originated. This difficult venture attracts above all an artistic temperament, because it is risky and, in a certain way, tremendous. Just as the poet Rilke desired who defined "tremendous" the start of what is, or is related to, "beauty".

Duccio Trombadori

PRINCIPIO olio su tavola intelata - particolare - click to enlarge
orfeo_UU.jpg (7155 byte)
RAPIMENTO dittico - olio su tela - click to enlarge
interludio_UU.jpg (7015 byte)
aria di follia_UU.jpg (7579 byte)














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