Antonio Papasso

Papier Froissé, Year 2002, cm. 61x175

And one might add: art is a path towards the highest goals of mankind, a link with the sacred that enlightens our lives and the great evolution of the world.

In order to conclude, the story that Antonio Papasso wants to tell us in his own words and the words of others, with the aim of sharing his joy of discovery and creation, is the story of his aesthetics (that is to say his relationship with his internal and external world) as his work comes to life.

A work that, as we can see, is attributable to the author in name and surname or to the feminine figure of Antigone under which he veils his identity every time his spirit is drawn towards traditional, illustrative forms (animal figures, landscapes, children, etc...) instead of an abstract reality. There is no discontinuity between the two dimensions. In the same way as discontinuity does not or should exist between the masculine and the feminine archetype that, according to Jung, cohabits in every human being. Antonio Papasso, as man and artist, has opened himself up to consciously face the universe where elements rotate and sail through chaos endlessly renewing itself. Urged by the disorder of the contemporary world, Papasso felt the need to recompose and reorder so as to give voice and colour to what he felt and saw.

Let us try to follow all the stages of his creative experience. With the elasticity of a researcher and in absolute freedom, which he achieved in maturity, Papasso found himself on the «scene» of his art in nuce. Sometimes he feels the board surfaces as constraining, something to be overtaken. From this perspective, not tied to any pre-established project or scheme, he explores a path starting from one side... As he moves on, he looks around, picks up new elements that arouse his curiosity or his interest, fastens resonances and weaves... He stops, goes back to the initial scene, then off again on a secondary path: he knots some specific points of weight, scatters some traces of his moving on with signs, with crumpled super-impositions (the papiers froissés, with a precise pitch of colour.

His vigilant mind grasps small and great events, their connections and harmony with his deepest desires and profound happenings. According to the form most congenial to him, Papasso - who is the holder of his life story and of his culture as well as of his ties with the sacred and its patrimony of connected values - interrogates himself about his darker and lighter aspects and the exterior world around him. Is this white board a support for additional whites, a principle of good? Or might it be a devil’s disguise?

But the journey goes on: there, some weights are attached, here some points of equilibrium are reached. Thus, the compactness of meaning is transformed into a myriad of significances. Could it be that evil struggles with purity before being faced with its origins and re-read over again according to a higher, divine design? A return to the «scene» might still be possible, not because unsatisfactory results might nullify what has already being roused and created, but because a new light, new horizons were drawn from an encounter between the demiurge and work coming into being. So everything must be recomposed and be passed down in history, according to a command coming from above and below oneself. Which is the same thing because - in agreement with Jean Guitton – the Infinite lives deep inside our heart."

Giovanna Alliprandi

Papier Froissé, Year 2003, cm. 115x214

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