FROM A PRODIGIOUS DECADE TO A CONVULSED ONE

About Rossato art critic Luis Angel Duque writes:

I have been fortunate enough during this last year in appraising his large formats that work as a life diary, telling of the passage of time. Facing this series of works, the “pathos” transmitted before by his sculptures can still be recognized, only that nowadays it reveals itself more clearly as the drama of existence.

The diary is profuse and grows out of loose phrases that he retains through those ever-present thin black rods, which undoubtedly establish the limit between artist and somber, and he only allows himself a few ochres and siena that variegate the expressionist intent.

Obviously, the thesis of painting as palimpsest of writing, whose evolutions-grave and quick-convey sense to the work’s surface, with its underlying, slightly and nervously sketched remains of his sculptures’ monuments from a decade ago, la carried to an extreme.

Intimate thoughts are discovered in the grand screen, and revelation comes upon when the works are unified, like the parts of a book which, facing the viewer, becomes a speaking one, defining a creative attitude and half-clarifying a personality.

The panorama of painting as a medium acquires sense in this convulsed decade, and as a valuable painter of the nineties tells us “…truly, in a given time I acquire thematic clues. I often started painting a series of canvases without knowing why, and yet finally, as time went by, I put my act together and there appeared a few relationships between my oeuvre and my personal life”.

The texts, largely in Italian, appear as apparently loose writings that, even if they seem to start and end abruptly, depict the density of well-gathered thoughts, evoked through absolute phrases. Shreds and voids are left behind.

Presently, the book on Rossato’s oeuvre, comprising both its publication and a parallel exhibition, means visual chapters, stages of thought, panoramic atmospheres, unfolded pages…time is the sole witness.