SERGIO SANSEVRINO
Freedom Practice
Painting is the artistic field in which Sergio Savsevrino moves with tenacious application from several years. Most of all don't forget his passion on verbal, theatrical and musical fields also whose influence is felt through his verbal expression.
His last paints round is titled Manoscritto. It's a sequence of oil painting on juta canvass born from a gradual stratification of the mark and matter, looking for a not forced dialogue to the space.
By a first look the creative course could seem istantaneous, born from a fast action, but on real it is a kind of paints created by deep thinking patience. The results are strogly material but the ispiration is poetical and fully immaterial as it is showed by Manoscritto 0 that is the round's first work.. Sansevrino left from a fully white in it, lightening the quality, arriving to a kind of zero level. Working like this he started an elements' analysis way of making paint, keeping the juta's original way without giving up to the shot. In painting field it was marked at the beginning and now more and more unvoiced.
This expression based on the gesture repetition and on the mark resonance, born from a long lasting painting work, day after day, records the author's emotional micro-vibrations and involves them compositive rhythms. It is a kind of oil writing in which the "decadent" symbols are necessarily similar to the current events and present history. "Crusted" zones alternate to a thin and continuos mark, then to a split and corrosive sign till to strong and pulpy stains. The artist is linked to ochre, light blue, black and white, rarely purple colours from a long time. Now a new orange colour shade is going to be added.
Therefore Sansevrino retrieves the material direction , that has been showed through cooton wools in nineties yet, where his syncretic attitude to the post Second World War times'vanguardistic tendencies emerges. From the "informal" ones to the objective ones, up till conceptual ones of the radical abstraction.
It's a total involvement into the painting art, that can conciliate both the Twombly's intimate and pensive writing and the active painting's romantic and vertiginous gesture. Both the Art Brut's wild primordial one and the Dubuffet or Tapies' handling of the stuff. Both the thought on the connected painting by Matisse and the analytical interests about the "New Painting Art".
The actual landing place is a hymn to the stuff where the oil stains itself. It's mixed with sand and small stones creating suggestive plastic depths and promoting new possible outlook research.
Still thought like a manuscript, the first type of this search (Intitolato) blends charcoal and white pencil drawing with oil coatings, more or less thinning, and with engraved or only scraped signs, but always following a rigorous composition.
Meanwhile it's outlined the use of textile fabric, of gauzed canvass and of press clippings also. It is a further recall to the manuscript and to the language.
The daily practice and a paradoxically metodic testing pushes Sansevrino, periodically, to move to the paper. Where the materic tension loosens up itself but the expressive freedom becomes stronger.
The artist seems to pick up Breton's recall to the instinct and to the free automatism, and sharing his friend and Master Sergio Dangelo's teachings, assumes an ironic and playful method with pleausure.
Sara Fontana
| OPERE | |
| Cliccare sull'opera per ingrandirla. | |
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 | Manoscritto 0 | Manoscritto 1 |
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| Manoscritto 2 | Manoscritto 3 |
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| Manoscritto 4 | Manoscritto 5 |
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| Manoscritto 6 | Manoscritto 7 |
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| Manoscritto 8 d'ars I | Manoscritto 9 d'ars II |
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| Intitolato I | Intitolato II |