Escaping time, Gatto’s forms acquire a formal bravery, a hieratic
sacredness which is absolutely unique and specific.
These elements of spirituality while painting, create a kind of “super
humanity” as transcendence of forms.
In my opinion this purity of language also gives specificity to the
message, to the style. In front of this mineral universe of Gatto, I
feel as being in front of a world without misunderstandings, where actions
are slow and fragmented, embraces are naturally monumental.
The slowness of figurative movements corresponds to a timeless dimension
of vision.
To enter this world means to live all useless discourse elements outside,
to go together with Gatto, towards the mineral heart of things.
The painter’s heart can also be found in the intervention of colour.
The colour as feeling. The colour as a success of vision. Gatto’s
stones are not icy, they are not cold as those of the dead people’s
towns. They have got a vibrating skin, a hot and sensitive surface.
Human paradox had only seldom been expressed with such an ability in
the mineral language. Gatto’s pictorial effects are mineral inasmuch
they wipe out any semblance of rhetoric.
The design is fine and sharp as the stone angles are; but when the stone
becomes flesh all shudders of feelings are there and give a right life
to these existential elements which become ours because they are assumed
and perceived as ours. The linguistic trend is of a humanistic and vital
kind. As a conclusion I dare say that the deepest mark that Gatto’s
visual discourse has left inside me is just this lesson of humanity
through the immemorial reference of the stone and its history.
To humanize the mineral universe in order to make life in itself and
for itself more present.
I thank Gatto for this gift: his vision is strong, powerful and attractive.
His stones speak and can create big visual poems. Stone characters are
our brothers in the memory, that is in the reality of our very next
future, they are simply our brothers and at the same time they are our
direct ancestors, they help us in seeing further, in feeling more deeply,
in living better.
Pierre Restany
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In Gatto’s works individual approaches, constructions add together
in a combination of tensions overtaking time and matter in showing the
future. But if philosophy is the establishment of a thought, which is
deeply motivated, that is how its conclusions are written in the research
that Gatto is going to continue. The natural event is a sure consideration,
not a probability.
In
Sardinia Gatto catches from the rocks (“stones”) the sense
of the continuity of creation.
Continuity
which is life, participation, then love. And in the post-Enlightenment
philosophy this sole conception of poetry can find a place.
It
is the imagination which here has a prophetic evidence, it is the sequence
which undisturbed moves within patterns, with its sequential power.
If at the beginning the moon had to be reached by the man made adolescent
in order to get his own hope, here the stones that the man has generated
become conscious of the imponderable.Stone which is entity, then (unexpressed)
reason, then logus-dialogue. Or better: logus-tale. From this conception
Gatto’s search, made it easier by the fact that the “rock”,
although its massive nature, is friable and tameable, and gathers way.
Just as an individual. And if hearing the whisper of stone is not allowed
by our audibility threshold, to penetrate its dynamic will is really
possible.
Here
is the artist’s intervention. An intervention which, mind that,
is not surrealistic or imaginative as deriving from a fleeting interpretation,
but it is reduced in concreteness because it is seen beyond the thought.
Everardo
Dalla Noce
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