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ART CRITIC BY LUCIANO CARINI

The critical texts of Luciano Carini about Antonio Saporito

Art critic Luciano Carini adjunct curator and member of the Commission of the Guatemala Pavilion, one of the most admired of the entire 56th Venice Art Biennale. The critical texts of Luciano Carini about Antonio Saporito are published on the editions of the catalogs dedicated to the works of Antonio Saporito.

ANTONIO SAPORITO, Anthology, shapes and colors, May 2010

ANTONIO SAPORITO, Geometric Space, May 2010

Antonio Saporito has been painting for many years

Antonio Saporito Luciano Carini Ugo Borlenghi
Luciano Carini, Antonio Saporito, Ugo Borlenghi

ANTONIO SAPORITO RESEARCH ARTIST

The artist lives and works in Turin. Formal evolution and a long career made up of important exhibitions and reviews. His commitment in the context of research and use of contemporary materials.


THE CHARACTER AND CULTURAL CONTACTS

Antonio Saporito lives and works in Turin. His artistic curriculum is long and dense: exhibitions everywhere, in Italy and abroad and then reviews, critics and journalists' interventions, good reviews and excellent results.

Art is in his blood, he carries it inside like a precious and inseparable partner. Artist to the end, artist always, on every occasion, under any circumstances. Antonio Saporito has been painting for many years, firstly following his instinct, driven by an extraordinary sensibility, by a particular way of feeling, attracted by nature and simple things that once marked the passing of the years, the changing seasons, the flowing weather.

Antonio Saporito, painting's workshop, 1998

Antonio Saporito, 1998, painting's workshop

Then there was the meeting with the masters Giorgio Ramella, Romano Campagnoli, Giacomo Soffiantino, with them he refined the technique, he learned the secrets of the profession, he deepened chromatic backgrounds, the preciousness of the material and the ability to transfer to the canvas his emotions and his feelings. Thus began the Figurative period, linked on one hand to the Italian and Piedmont tradition in particular, but with the addition of something new: that way of concluding fairly quickly, without too much giving in to details, which already made foresee future developments.

Landscape, 1999
Paesaggio, Landscape, 1999

To Antonio Saporito a painting so tied to tradition, so descriptive, was narrow.

At this point it was revealed his spirit as a contemporary artist, strongly linked to the present but already projected towards the future: one could understand his dissatisfaction and his anxiety to set out towards new paths, towards the search for other artistic worlds; our artist so began the long journey in the heart of a new expression that will lead him to interesting and unpredictable developments, a journey not only through the form and the sign, but also into '' the materials ", those of our days, modern technology and current.


ACTIVITY AND ARTISTIC PHASES

The first phase of the metamorphosis of this artist leads to a production that could be defined as geometric abstract. In fact, they are flat geometric shapes, horizontal and vertical lines, precious and iridescent arabesques that run after each other on the surface tracing captivating designs.

Good-looking works are born and pleasing to the eye that Antonio Saporito compares to the glass windows and of stained glass windows, those that decorate the naves of the churches, these works have all the appearance: they are in a certain point, projects for glass windows to be inserted in modern and futuristic cathedrals.

Geometric shape, perforated green steel technique, measure 46x29.5, year 1999, archive N.245

Geometric shape, perforated green steel technique, measure 46x29.5, year 1999, archive N.245

The artist's love for glass is already evident in these works, a material that is only apparently hard and cold, in reality ductile and malleable, rich in light, with deep and different reflections.

In a certain sense, they are the harbinger and warning that we are faced with an artist who is never satisfied with the results achieved. Saporito is constantly looking for the new: new motivations, new inspirations in different materials to give incentives and feelings related to the contemporary, to today's world, more and more technological and surprising.


GLASS AND STEEL ARE SYNONOMES OF THE EXPRESSION OF MASTER ANTONIO SAPORITO

From the geometric abstract to the glass, the jump was almost natural, when in the first expression the guiding idea for the second was already present. "I like the sky and the mystery it contains. I feel the greatness of space and I am attracted by the infinite, the immense, the unknown depths"

This is how Antonio Saporito expresses himself while he shows me his latest artistic productions.

These are images linked to the truth, houses, trees, hills, enclosed in the transparency of glass. The glass has the magical power to illuminate and project images away, to give light and transparency, to give life to strange games, with the observer who wonders about this type of images so original and unusual for an artistic world often homologated on 'already seen' and the tired repetitions.

Saporito does not like homologations, he does not repeat or even less, he is inspired by some contemporary sacred monster. He works the glass, he digs it up and obtains artistic and guided splits that break the image and refract it on the second glass that acts as a background: you get an image in the image, a virtual game between reality and fiction.

Saporito plays with the spectator and is a pleasant game that brings to life the emotions of the third dimension: that of depth, of the possibility of entering into the image to become a living and integral part of it.

And gradually we enter in the last phase of Antonio Saporito production. The artist has now moved to an absolute formal order, has abandoned colors, follows a clear and precise planning, has come to pure spatiality, where there is no more gesture or sign, but the rigor of spaces and forms. Order, rigor, are the keywords to understand this type of expression that can produce deep emotions, strange feelings of lightness pervaded by long silences.

He no longer uses the brush, our artist, now he only uses steel.

With this material so concrete and modern, so present in the industrial production of our day, he shapes the cosmic forms: circles, squares and rectangles, ellipses, boundless worlds that rotate and wander in space, eternal and infinite worlds in which man is lost and annihilated. Around these forms, nothing: only the whiteness of the background that projects the shadows of steel on dilated spaces.

It is the eternal poetry of immensity where every human being is nothing but a poor grain of sand that the impetuous wind of destiny moves at will.

Luciano Carini