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Names have been suggested, trends and poetics have been mentioned in the effort to explain Antonio
Papasso's painting. In each of these examples, the leitmotif on which the various passages were
(also technically) organized, seemed circled, ever more approached, though through obscillations -
almost as if the secretest nature of a research all in all consistent, wouldn't allow any direct definition.
That the Papasso area of activity is generically informal, this is doubtless, but it also shows very specific
features. It is the moment of the clarification, not only thematic, that ought to be singled out, I should say,
around the time and the title of 'genealogies'. And here, I believe, with ever more consciousness Papasso frees
inner motivations and his constituent methodology, letting intentions and solutions coincide.
Separating the priming from the sign, renouncing the strong lyric inclination but neither rejecting the
interference of restlessness, in other words accepting as necessary (in dialectical terms) a discussion on an
eventual aesthetising longing through the persistence of a diffuse malaise not yet brought out but pressing,
(as in all attraction and repulsion mechanism, of a liberating abandonment and resistance and refusal in the
process of analysis of a condition), Papasso distinguishes in the vaguely pantheistic infomality of his previous
work ,the representative element (the emotional suggestion) and the structure bearing the representative with
both colours and matters: witnessing affectionate tenderness, hints of a pacific condition lyrically transformed,
and nevertheless leaving to the nervous sign, nearly an automatic writing, the task of sensitising or even
"teasing" the forms.
It is for all these reasons that Papasso's more recent works look so ambiguous, proposing themselves, on one
hand, as examples of an informal variation while, on the other, its subtle and yet difficult to deny tale-telling
tension (which is the articulation of a thoroughly inner 'speech' expounding a thesis: the one on 'genealogies',
proliferation process of continuous birth, of an also ritual ciclicity underlined by the creative act), as examples
of a painting offering itself as a readable page and at the same time as a reading method, not excluding some
correlation of a surrealistic kind..
Roberto Sanesi(*)
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(*)Roberto Sanesi (Milano, 1930 - 2001). Italian poet and art critic. Connoisseur of Anglo American literature he has been an important translator from English into Italian (J. Milton, W. Blake, Th. S. Eliot) and worked out the translation of some anthologies of poems that have been written in the 1600 and 1900. He wrote several poems collections. Poeti americani 1900-1956, 1958; Dylan Thomas, 1966; La valle della visione, 1985. |
