FONDAMENTA • Prof. Arch. Michele Premoli Silva
[Balance]


Ho conosciuto l’artista Bios Vincent attraverso il mio ruolo di docente di Architettura Sacra Contemporanea presso L’Accademia di Belle Arti di Brera circa 6 anni fa. Immediatamente sono rimasto colpito dall’interessante lavoro che stava sviluppando quel giovane artista in divenire. Emanava energia problematica in ogni direzione, stava portando avanti la costruzione, tuttora in corso, di se stesso come uomo e come artista. Dopo un po’ è partito per la Cina diventando uno dei primi studenti Erasmus che dall’Accademia intraprendevano questa avventura. Questa esperienza è stata fondamentale nella sua maturazione ed ha lasciato influenze determinanti nel suo percorso “costruttivo”. Vari altre elementi progettuali e costruttivi si sono stratificati in questi anni e l’ "opera” si stà compiendo.

Non v’è luogo più emozionante del cantiere, non v’è cantiere più emozionante della vita. La vita di Vincenzo Lipari (Bios Vincent) è un cantiere che si svolge in un cantiere.

La materia che costruisce le sue opere è una preziosa ceramica composta di materiali isolanti, fonoassorbenti, idrorepellenti ma permeabili percettivamente alle emozioni. Sono reperti archeologici scolpiti nel futuro e materializzati nell’oggi. Raccontano di vita vera, complessa, primariamente umana..ma non solo.

Io leggo ferite e cicatrici che anziché avvilire, fioriscono nella forza dirompente di un messaggio di costruzione. Leggo bandiere/Paese che, nonostante sventolino a volte al contrario, trasmettono un orgoglio di appartenenza. Decisamente evidente l’aspetto critico di questa appartenenza. Leggo le guerre vere e quelle metaforiche della vita. Leggo il sopraggiungere di un magma che è sangue ma è anche linfa. Leggo i sogni e le speranze che non tramontano di fronte a niente. Leggo l’ingiustizia che viene sopraffatta ma che continua ad esistere e continua ad essere sopraffatta. Leggo comunque, rispetto ad alcuni lavori precedenti, il fortificarsi di una nuova speranza. Il segno di una vittoria di chi ha saputo perseguire il suo sogno.

Leggo nell’opera di Bios la grande arte moderna Italiana, il messaggio presente nel nouveau realisme e nella pop art ma scritto attraverso una nuova dimensione del surrealismo di cui Bios è il precursore

Per lui questo è il mondo reale, per chi ha la sensibilità di cogliere il suo messaggio ci sarà la possibilità di vedere il proprio mondo sotto una diversa e poetica angolazione. Anche in questo mondo, un luogo di schietta sincerità, è presente la paura con la quale ognuno di noi deve convivere nella concretezza di un'esistenza umana.

In molte opere è presente una stratificazione senza dimensione quindi illimitata dove è evidente il concetto di infinito. Noi lo concepiamo concettualmente ma allo stesso tempo non siamo in grado di comprenderlo. Bios Vincent ne dà una personale chiave di lettura.

La poesia ed il senso cromatico delle opere pittoriche, dove interviene anche un fatto tridimensionale e materico estremamente potente, danno la dimensione delle grandissime potenzialità di questo giovane ma maturo artista. Gli angeli instabili ed improbabili che secondo Vincenzo ci proteggono, hanno combattuto importanti battaglie, hanno rischiato di cadere e anche quando sono caduti hanno continuato a vegliare sui nostri bambini. Sono angeli vulnerabili ma invincibili, soffrono per noi e con noi ma ci ricordano che dobbiamo continuare a credere... in noi stessi.

Io ringrazio Vincenzo Lipari per aver creduto sempre con determinazione nel suo lavoro e di non aver mai avuto paura di nascondere le sue debolezze e la sua sincerità. Ciò consente a noi, adesso, di poterlo leggere come uno dei più promettenti artisti contemporanei, forse, addirittura, come l'anticipatore di una nuova dimensione del surrealismo. Credo che anche gli angeli custodi di Vincenzo si guardino tra loro con orgoglio per il ragazzo che li ha creati.


FOUNDATIONS

I met the artist Vincent Bios through my role as a lecturer in Contemporary Sacred Architecture at the Academy of Fine Arts of Brera about 6 years ago.
Immediately I was struck by the interesting work that the young artist in his evolution was developing. He radiated problematic energy in every direction for he was carrying out the ongoing construction of himself as man and artist. During the course of his period of study he participated in an Erasmus exchange in China, becoming one of the first students of Brera to experience this adventure. The experience was fundamental in his development and had a significant influence on him, exposing him to various other design and production methods, which he has built upon in recent years with the work he is making. There is no place more exciting than a construction site, there is no construction site more exciting than life.

The life of Vincenzo Lipari (Bios Vincent) is a site of construction that takes place on a construction site.
The subject that his work constructs is a valuable ceramic composed of insulating materials, sound absorbing and waterproof but permeable to the emotions. Archaeological finds sculpted into the future and materialized in the present. They tell of real life, complex, primarily but not only human.

I see wounds and scars that instead of debasing flourish in the disruptive power of the construction of messages. I see flags/country that in spite of sometimes contrary indications convey a pride of membership. The critical aspect of membership is definitely clear.

I see true and metaphoric wars of life. I see the arrival of magma that is blood, but also sap. I see the dreams and hopes that never fade. I see injustice being overwhelmed, but which continues to exist and continues to be overwhelmed. I read however, compared to some previous work, the strengthening of new hope. The sign of victory of one who pursued his dream.

In the work of Bios Vincent I see the great modern Italian art, the message of New Realism and Pop Art but written through by a new dimension of surrealism of which Bios is the precursor.

For him this is the real world. Those who have the sensitivity to understand his message will have the chance of seeing his world from a different and poetic angle. Even in this world, a place of genuine sincerity, there is the fear with which everyone must live in the reality of human existence.

In many works there is a dimensionless stratification, unlimited, where the concept of infinity is clear. We understand it conceptually but at the same time we are unable to understand. Bios Vincent gives a personal interpretation.
The poetry and the sense of colour of the paintings, in which the use of intervention of the three-dimensional fact and the extreme potency of the material, indicate the enormous potential of this young but mature artist. The Angels unstable and improbable, which Vincenzo thinks protect us, have fought major battles and even risked falling and when they collapsed continued to look for our children. Angels are vulnerable but invincible, suffer for us and with us, but remind us that we continue to believe ... in ourselves.
I am grateful to Vincenzo Lipari for always firmly believing in his work and for never having been afraid to hide his weaknesses and his sincerity. This allows us to consider him as one of the most promising contemporary artists, perhaps even as the forerunner of a new dimension of surrealism. I believe that the guardian angels of Vincenzo look at each other with pride for the person who created them.



…Le foglie non devono cadere più • Michele Premoli Silva
[Ma-donne]

Entrando nella chiesa che Sant’Antonio da Padova fece costruire in memoria di San Francesco, oggi spazio culturale Antonio Ratti, ci si trova immersi in un luogo di memoria, sopraffazione, sofferenza e di speranza allo stesso tempo. Si è come sospesi nel tempo e nell’anima.
E’ un autunno infinito dove sono cadute foglie antiche e contemporanee, le une sulle altre e continuano istante dopo istante a cadere…ecco una sta cadendo proprio adesso e un’altra ancora … e ancora…e ancora…………….
Basta!!!!!!
Questo è il grido di Bios Vincent, l’artista per la Vita, che combatte con i suoi progetti e le sue idee che impegna le sue energie per comunicarci con forza e durezza che nessun’altra “foglia” dovrà cadere.
Nella navata centrale 169 Donne, schierate come una compagnia di soldati, sembrano cercare una forza nella compattezza del loro incedere. Sono rivolte verso l’uscita, quasi a voler dire che il tempo del silenzio e della sopportazione è finito...magari!.
La sensazione è che vogliano avanzare verso una nuova dimensione.
Il coraggio lo hanno sempre avuto e tanto.
Il volto di ognuna di loro, sono realizzate in gesso, ma osservate da vicino sembrano vere nel senso che trasmettono uno spirito, è segnato da segni, cicatrici, perforato da chiodi arrugginiti che richiamano quelli con cui è stato crocifisso Gesù. Anche i loro corpi sono segnati, spezzati, perforati. Ci raccontano un martirio del corpo e dell’anima a cui troppo spesso loro, metafore della realtà, sono stata sottoposte. Sono di un colore avorio, non tutte, alcune hanno dei segni neri sul volto, altri volti sembrano ricordare i segni dell’acido tirato da qualche vigliacco sul viso di una povera ragazza. Al centro La Ma-Donna rossa, quasi morbida da vedere senza alcun segno. Il rosso, colore del sangue, è anche il colore della vita. Il bianco è ormai privo di sangue. Forse un po’ ne è rimasto e da li bisogna rinascere.
La rinascita è qui simboleggiata dallo straordinario volo di farfalle, Opere dell’artista cinese Pan Wang che Bios Vincent ha invitato anche metaforicamente per reinstaurare un nuovo rapporto tra Donna e Uomo. Una Donna e un Uomo nuovi, rinati nell’amore e nel rispetto reciproci. Loro due sono anche marito e moglie, nati in due mondi lontani e per destino o per caso travatisi. Ciò avvenne quando Vincent, primo studente di Brera a riuscirci, parti per la Cina per studiare all’Accademia di Seng Yang. I misteri della vita…
Dal loro amore è nato Vito Zi Tai, più speranza di cosi…
Tornando a questa grande mostra installativa e proseguendo il percorso troviamo nelle navate laterali 12 grandi pale. Sono 12 grandi immagini che senza mediazione ci parlano della violenza cieca che toglie il fiato. Sono immagini di una contemporaneità eccezionale nella resa artistica e nello sgomento che generano. La plastificazione della sofferenza qui assume la dimensione di monito verso una società capace di passare con troppa disinvoltura da un’immagine all’altra, di qualsiasi immagine si tratti. Di tutto ci si assuefa. Beh, qui no, non è impossibile…nessuno che riuscirà a guardarle potrà evitarne il marchio sul proprio cuore.
L’abside accoglie un Cristo deposto, smaltato di rosso, con un colpo di proiettile nel costato. Li a poca distanza una bara di legno aperta può rappresentare un fonte battesimale dove l’acqua ha il colore del sangue. E’ il luogo dove gli uomini dovranno metaforicamente rinascere all’umanità battezzandosi nel sangue che loro stessi hanno versato.

Vincent ha scelto di essere un artista contemporaneo che sa che il suo ruolo può contribuire al cambiamento. Un cambiamento dello spirito che porta alla trasformazione della società. Ciò è evidente anche nel suo lavoro recente “il muro ha un suono”, “camera ardente” e “specie bandiera”. Grandi mostre performative realizzate in importanti spazi istituzionali o itineranti nei luoghi della nostra coscienza.

Complessivamente si può certo dire che si è di frante alla grande opera di un grande artista che è prima di tutto un Uomo che sa che le Donne non si toccano neanche con un Fiore.



Bios: artwork and perception • Micol Di Veroli
[Il muro ha un suono]


Perception is never stillness. Perception is a sensible certainty flowing through the body, flooding it with cues and forcing one’s mind to wonder about the invasiveness of Nature surrounding it. Its perpetual motion is basic to any creative action and allows humans to join in with the energy flowing in the universe. Describing the mechanism of perception and the reactions to perception through Art is a complete abstraction. Art is by itself a generator of perceptions, a facet of knowledge that turns into personal and universal experience. The artwork is a vision and yet it cannot convey the picture of what has been perceived, or record the non-essential or what happens in the viewer’s mind at the very moment when the mind is hit and gets permeated with it.

When the viewer comes into contact with an artwork, the artwork produces an indention into one’s conscience, a seismic reaction generating emotions, an act that forces the viewer to take possession of the artwork in its wholeness, in its purity, and thus preserving it forever. This reaction is generated by a force that attracts and rejects; yet, the artist as a creator of the artwork cannot measure its intensity. The eternal enigma between subject and artwork is part of the mystery of perception and how an artwork can elicit reactions through many senses. Creating an artwork that decodes feelings instead of letting them propagate or reflect them idly is a tough endeavour, and going beyond esthetics and matter appears to be an even tougher work.
Within the research on "artwork and perception”, what Bios has experienced and experimented is a revelation mark. Artworks are indeed sensing devices of what Art conveys and receives. This happens through the creation of vacuum, of a space inside the hard matter, as if any surface could be investigated all the way to its naked essence. In all artworks a generating “womb” ready to take in the refraction of a human feeling and magnify it and turn it at the same time into something different. Through these spaces, the perpetual motion of perception can be detected, eventually free to endlessly flow back and forth from the viewer, with a perfect form of dialogue opening up to new counterparts. Pure pigment and hard matters are the keystones. Their essence overlaps highlighting two opposite male/female elements that meet and make inside and outside two objective dimensions.

Bios’ close relation with surfaces marks their shift from just being a physical presence to being a depiction, an awareness creating consciousness and ultimately a separation between being as object-artwork and consciousness.

This phenomenology of perception is not simply a mere representation of the meaning of senses, but expands into the whole human experience. Memory and spirituality are the pivots of sturdy and solid manifestations, yet flexible and ever-changing, like thoughts are. An in-depth investigation on the reason why the artworks have many empty spaces, makes us realize that this is an effort to make, give a physical dimension to pain and either physical or mental tearing.

Concrete – one of the artist’s favourite materials – becomes a supreme element eliciting peak states of mind but also feelings of alienation, becomes the symbol of division and mutual hatred getting to the apology of decadence and man’s final relinquishment to natural processes. Yet, the same concrete elicits revolutionary feelings, feeding the crave to jump over fences and barriers and protect this earthen shell. A matter that is the supreme archetype of creating and building something long-lasting and, if needed, rebuilding on the relics of a shameful past.
Therefore, concrete takes up a rough yet pure dignity and a touchable value that may exacerbate all tensions and formal balance. Through the use of this material, together with more unconventional ones, Bios offers visions of a dramatically torn body, inviting the viewers to explore what is in front of them.
Openings on the matter are quickly carved through an even more dramatic process, the use of bullets shot on the surface. A form of mandatory violence that helps matter breathe and creates receptors that trap and feed perception. Viewers’ perception remains connected with the artwork and gets recorded and acts as a completion to it.
Bios is an artist who can open up his research beyond esthetics and matter, involving the viewer into an energy and emotional flow connecting him directly to the wholeness of the universe.



BIOS – The wall sounds
Martina Cavallarin

Now, the circle does not square, the magic territory is the unique gap where partiality and the circumstances of life merge into the artist’s totality and liberated freedom. (1)

BIOS Vincent is nourished by what in Manneristic terms can be defined as “sprezzatura”. From the Italian verb sprezzare, and the Latin expretiare (ex-pretium, esteem), literally meaning despise, here used in its meaning of doing something exceedingly at ease, otherwise nonchalantly. Yet, in the book titled “Libro del Cortegiano”, Count Baldesar Castiglione believes it is the epitome of grace, and often brings it back to the semantic background within the Aristotelian concept of irony (eroneia). In Mannerism, “sprezzatura” is not just meant to be the idea but also the obsession by an idea, not just the idea of a simulated lightness which holds an image produced with apparent “aisance”, while concealing labour and artifice. BIOS owns, practices and returns this obsession for the idea. With Mannerism another turmoil is triggered, the turning upside-down of anthropocentric certainties which leaves momentum to estrangement and loss. What develops, in the sedimented and excessive works as well as in the lightness of BIO Vincent’s latest production, is the place of loss, yet a partial one, since this young artist seems to constantly be in a maze and yet always gets to devise its center. It is a Renaissance maze, with its rigour and order, a ravine where a vertigo becomes a closer loop to mankind, softly sweeter although utterly reckless.
The core of the Palazzo dei Normanni Exhibition is also a maze: a rectangular room with the central movement of a linear pathway and yet irregular in its single areas, a curve and a number of U-shapes of a partial since-curve where his artworks follow one another from more materic installations with blasting colours to artworks made of concrete all the way to the great back wall covered by a large and as greatly emotional work, a blank and smooth concrete wall. Downstairs, visitors are welcomed by a video featuring BIOS’ performances while in the center room the artistic language is different, yet with the same echo, a silent echo of a wall that sounds.”The wall has a sound” is a collection of poems by the art-critic Guido Ballo. A large collection of his poetic works from 1940 to 1990. This title for this exhibition means enjoying the circularity of the universe, or of a tiny piece of it: Guido Ballo theoretician of Spatialism and Lucio Fontana who tears the canvas to get into a different dimension. BIOS does not follow that direction, his research is founded on imploding bullets and tears on the surface to leave a silent and violent trace, the performance of one or more actions that should not be forgotten. Bios digs into memory. Yet, from one gesture to another, from an intention to another, from an analysis to another, the circulation into this room gets so jammed that the world lead us to use a title to go somewhere else, close and yet perpetually tangent and never bound to cross with the other.

Oblivion:
< Scrubbing   the bottom   (eventually cancelling) obliàre   ob-lìvium oblio oblier high hurdles   lìvere levigare (lèvis smooth lèiw lìnere linìre oiling) linimèntum   (just a short pause light) lèios oblivion that floods it all ob-lìtus. (2)

A bulimic and energetic painter, a performing artist in both his gestures that fill and tears his bi-and-tri-dimensional works as well as in the “mises en scene” that are a vital and integral part of his work, Bios carries out his personal research investigating into the social dimension and concentrating into hot subjects, such as abortion, ecology, bullying, violence and physical and mental barriers. What matters to this young artist from Trapani who lives and works between China and Italy is analyzing the relationship between man and Art, man and the environment, among human beings in the deeper meaning of interpersonal relationships based on love and hatred, getting into a metaphysical dimension through the transformation of language and materials. The artworks exhibited here become vocal through some specific codes investigating into the private and public subconscious with an art which is always based on the intrusion of a performing action both in terms of its being the structure of a scene where hunters shoot virtually their prey, a metaphor “par excellence”, as much as when the artist embodies the “Pinocchio” or simulates crucifixions. Also, the wall installations with numbers that are signs and precise logos – like in the case of number 194 – the registration number of the law on abortion, or in the case of words, letters and writings – in the final stage of production of the artworks are raped through the conscious and targeted use of shooting irons.
The question when faced with those walls is what sound can they release, the excruciating and invisible whistle of a shot, or answers that were never given, unexpected gifts, a hope that never materialized or a memory that was erased. BIOS looks at the world through the bullet-holes on his surfaces and his art appears to be self-learned while it is well ground by a specific cultural process, by ancient codes, such as Medieval graphics and literature, engravings and sacred art as well as a visionary attitude. He is very careful about the dynamics of memory and its preservation; his work is exaggerated and an unrelated sedimentation of materials and techniques which in the complex finalisation of the artwork reveal and unveil a balance and harmony never hoped for beforehand. BIOS makes the time dimension outgrow though all the tools he is familiar with: spatulae, brushes, nets, bullets, plastic materials, fabrics, concrete and tangles of materials or simple things. The artist and the artwork he generates are both put in a static position where one can be reflected and be mirrored to constantly test oneself, to scream one’s discomfort and “pietas” which consistently and lightly invades his production.
His unusual and extraordinary artistic practice is always in between painting and installations and URSA panels in extruded polystyrene used in the building industry which are the basis that BIOS uses as physical and conceptual support to his works
These surfaces are the means to put together “objects trouvés” that have nothing in common and displayed with the same Dadaistic method that in my opinion make them part of that branch of postproduction art that is the common thread between the concept of eco-sustainability and contemporary practice in a state of advanced perspective. His artworks range from tiny to very large and his works have a great emotional and visual impact where the work always and inevitably takes over. For all these factors together and for each single one of them, BIOS dealt with the exhibition venue at Palermo as if it were an ever-changing organism becoming the place where visitors can ponder and are invited to sit and think about the current fears and tensions, cultural differences among different civilizations and groups where conflicts are recurrent and pressing.
Through his on-going research, this Sicilian artist highlighted his work of getting to the essentials which makes his works more intense: polystyrene panels have either been covered with concrete or left bare and, once more, perforated by bullets of different sizes: magnum, plumb bob or “lupara”. His investigation leads his mental loop to outpour into an artistic and poetic process that protects the memory which on the concrete surface – a symbol of a “wall” as a urban and mental barrier, a bar, a prison or a defence – wedges in, like the bullets hitting it, to expand silence without losing one’s memories.

On the artworks skin, the flow swirls deeper and deeper to get back on the surface with a bodily “’ansietas” - gut, head and heart – which pervades visitors taking them, through wear and tears, into those places where Art makes one ache as if it were hit by a torn on one’s side, through investigation, question marks and dim areas. Marsilio Ficino (1433 - 1499) said that “ansietas” is the backbone of the soul, thus giving birth to modern psychology. Therefore, artists and people lived from then on in a society into a crisis. During the Renaissance, Man was the “Man of Reason” and reason was the engine of everything. Man was the closest animal to God since Man was the bearer of reason. And the graphic outline of this world at peace through reason was perspective. Perspective, as conceived in the Renaissance, came from Euclidean geometry measuring the world based on harmony, proportion and symmetry. The deceptive bidimensional space of a canvas gets broken and produces a “trompe l´œil”, a virtual depth through a prospectic geometry that focuses on the Prince and puts courtiers and Nature on the background. After centuries went by, the Novecento produced a number of attempts that advanced taking diversions from Lucio Fontanas Spacealism that was mentioned before, to other more or less successful artistic forms. Now, after September 11, 2001 when a terrorist attack hit reality by hitting and piercing the Twin Towers, the artist is up the wall and forced to get back in closer contact with reality. This process has generated more or less fruit-bearing branches and I think that BIOS is working on a very interesting one in between different needs and languages. The neverending influences take us back – between pauses and diversions – to a place that, after Lucio Fontana, focuses on the great artist from Umbria, Alberto Burri’s reckless quest to poetically idealizing wastes. This process highlights on their lyrical impact that makes them be solid residues of one’s life in the cosmic meaning of the word. Burri’s materials, like the “indigestioni” by young BIOS lead us into places that remind us of those materials before they undergo the post-production process by Bios, before they get mixed in an alchemy which is the absolute key and often inaccessible to Art.
Achille Bonito Oliva, Il territorio magico, nuova edizione, Casa Editrice Le Lettere, pag. 65
Guido Ballo, Il muro ha un suono, POESIE 1940-1990, All’Insegna del Pesce d’Oro, di Vanni Scheiwiller, Milano, 1994. Oblio pg.388.



Vincenzo è il primo artista che partecipa al progetto di scambio culturale tra l’accademia di Luxun e l’accademia di Belle Arti di Brera. Ha frequentato i corsi di incisione, serigrafia, litografia, xilografia e pittura ad olio. Ha operato approfittando delle lezioni, cogliendo l’influenza, usando il linguaggio ed il senso artistico orientale con criteri e tecniche proprie. Si è posto verso la tradizione con senso estetico, ammirando gli usi e costumi orientali. Con le sue norme ed i suoi canoni ha effettuato un sovvertimento di tale tradizione operando dal profondo del cuore. Il suo potenziale impeto giace nel sentimento; è capace di aprire il cuore e si è divertito nel ricreare una disposizione strutturale. Le persone che vogliono entrare nel suo mondo non possono intraprendere la strada della ragione o della regola, ma quella del cuore.
Vincent is the first artist that participates in the project of cultural exchange between the academy of Luxun and the academy of Belle Arti of Brera. He has attended the courses of incision, serigraphy, lithography, woodcutting and painting to oil. He has operated taking advantage of the lessons, gathering the influence using the language and the oriental artistic sense with criterions and proper techniques. He has set himself towards the tradition with aesthetical sense, admiring oriental habits. With his norms and his rules has effected a subversion of such tradition, operating from the depth of the heart. His potential impetus lies in the feeling; he is able to open his heart and he has had a good time in recreating a structural disposition. People that want to enter his world cannot undertake the road of reason or of rules, but the one of the heart. Ji Yun Hui



Vincenzo opera in modo da separarsi da un’arte figurativa e cerca le tracce per creare un rapporto non convenzionale, un modo di vedere diverso, usa liberamente la tecnica e ogni metodo con grande effetto, raggiungendo livelli solenni e tragici. E’ di vivida immaginazione, ed esprime un altro punto di vista quasi crudele. Coglie dalla tradizione il senso estetico ed ammira gli usi che vengono così nascosti sotto altra forma. Ha provato ad usare sentimenti di forza e nella sua pittura è riuscito ad aprire il cuore. I suoi metodi inflessibili raggiungono un innalzarsi di vitalità che gli permette di realizzare una nuova concezione di arte, limitando i vecchi stili. Egli realizza le sue pitture utilizzando una carta stampata, ottenuta per mezzo delle tecniche dell’incisione. Da un non ordine, un casuale cambiamento, proviene l’ordine della sua pittura. La sua attitudine ad essere preciso appare provenire dal fondo del cuore, di impeto. Come fosse un gioco, realizza qualunque immagine di elementi che sono latenti nell’arte, divenendo intermediario di aspetti profondi.

Vincenzo operates in order to take the distance from a figurative art and looks for traces to create a non conventional relationship, a different way of seeing, he freely uses the technique and every method with great effect, reaching solemn and tragic levels. He is full of vivid imagination, and expresses another point of view almost cruel. He gets from the tradition an aesthetical sense and he admires oriental uses that are therefore hidden under another form. He has tried to use feelings of strength and in his painting has succeeded in opening his heart. His inflexible methods reach a rising of vitality that allows him to realize a new conception of art, limiting old styles. He realizes his paintings using a printed paper gotten through the incision techniques. From a not order, a casual change, originates the order of his painting. His attitude to be precise appears to originate from the fund of his heart, as an impetus. As it were a game, he realizes whatever image of elements that are latent in the art, becoming intermediary of deep aspects.  Xiu Bao Zhong