Description
Michele Principato Trosso was born in Germany in 1974, in his works it is often difficult to understand whether the instinctive moment prevails or the need to create a rational embankment for it, which knows how to contain the overlapping of gestures, shapes and colors within a composition where nothing is left to chance. This is because, in the Informal, the two moments are inseparable, even if obviously distinct, like two extremities of a tension that acts dialectically. The color constructions, the tonal relationships, the transparencies praised by the subtle chromatic overlaps, the spatiality that arises from the overlapping of the pictorial elements are connected to each other by correspondences that cannot be altered, as if the artist were entrusting them with a fate that can never be modified. The inner impulse is always governed by the intention. An intention that is clarified, however, in the process of creation. In Principato Trosso, undoubtedly, the language of the soul seems to dominate over the language of the world, in an evocation of reality which, however, does not fray in nebulous chromatic solfeggios, in redundant formal structures, but takes the form of compositions in which a sign always emerges poignant of things, because the experience of reality can be reassembled in the complex and articulated sphere, where experience, memory and meditation meet. The subversive element, the emotion, certainly fits into the heart of the image and blows up the usual visuals, bringing out a language no longer built on the objective relationship with reality, but structured in the need to give voice above all to the freedom of tell the real symbolically, through the power of a narrative horizon that arises on the canvas, in the very moment of creation. The space on which the artist works is no longer an inert backdrop; the creation is an overlapping of elements that create accumulations and liquefactions, lights and shadows, crossings crowded with signs, symbols, scratches, brushstrokes, in dense and vibrant chromatic cores, or laid out in soft transparencies, as if sometimes tumultuous courses were sought, other times sweeter and less exasperated yielding. Painting thus becomes an ongoing process, rather than a representation, because the painting represents a semantic horizon in which a total osmosis takes place between subjectivity and objectivity. In this exhibition – as we can see from the images of some of the works published here – Michele tries to tell a present with dubious, dramatic, often distressing implications. Here these sensations are translated on the canvases through a bright, lively chromaticism, in which reds, grays or blacks prevail, on which are inserted – almost glimmers of hope – strokes of light in the blues, in the blues, in the whites or in the yellows . In which the intricate and magmatic overlapping of matter, violated by marks and scratches, seems to convey the restless wide-open question about the meaning of life. A sense that escapes, but that never induces us to abdicate the desire to find luminous spaces of trust. (critical text by journalist Cristina Palmieri)
