Deepening to explain life of Antonio Papasso as engraver and painter

Antonio Papasso
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Back to the Seventies and after mentioning the stimuli received from the cubist period and from Picasso's maximes, the road that Papasso is to follow later gradually moves away from those ambiences. He approaches non-conceptual abstract art and the contemporary world. We quote some of Picasso's aphorisms:

"(I have) never seen colours fight against each other." "I do not try to find, I find." "How is it possible to show no interest in others?... No, painting is made in order to decorate flats. It is the instrument of an offensive and defensive war against the enemy!" "People want to understand! Why don’t they try to understand the scent of a flower, the beauty of a night!" "The academic teaching of beauty is false. We have been cheated so well that we have not succeeded in finding even a shade of truth"

According to Papasso:

Picasso’s line of thought and his work foster the development of human faculties. Did Picasso have the intuition of a probable evolutionary transformation of society and, as a consequence, the need of mankind to avail itself of introspective instruments of defence to face the future? I believe that art has the power of communicating absolute values and, because of its nature, has the strength to give an incentive to the evolution of the species.

Papasso comes nearer to the contemporary world of art.

He performs works on square, rectangular, oval, trapezoid, etc.. surfaces, giving sense to the very forms and dimensions of the matter that welcomes the creative process. This process begins from a conscious path that develops within the form and the surrounding space, then, lead by the unconscious, flows to absolute freedom.

The surface grows richer with signs, colours, punctuations that change their forms. Papasso works spontaneously, letting himself go under and above the stimuli of rational inventi- veness. When his «plant» has reached its full growth, he stops working and waits trustingly for the emersion of art values, the fruit that could be reaped by anyone. His work is alive and displays itself to onlookers who may react to dissonances and reject the energy it emits. Perhaps they fear novelties because they dare not abandon their familiar, reassuring and taken for granted habits.

Onlookers, however, may become empathetic, they are bewildered and listen to the calls ringing out to them, which provoke sympathetic vibrations of affinity and similitude. So irreality gains an ancient reality, deep inside nature and the human condition.