He thanks his father who gave him colors in his hand when he was little, and everyone who trusted his talent, which has become an extraordinary journey to beauty. the appearance of Roberto Giglio it dwells on the figures of men and especially of women, standing on the doors of the houses, and it widens on the alleys, on the empty squares, on the abandoned houses. His brushstrokes are luminous: rays of light illuminating the shapes of the abandoned villages of Calabria and the ghosts that inhabit them, bringing back the lost memory.
They are “The forms of oblivion”: this is in fact the title of the exhibition of the artist originally from Badolato, which was inaugurated last Saturday in the exhibition spaces from the ground floor of the MARCA Museum, to be visited until 31 August.
Promoted by Rocco Guglielmo . Foundation in collaboration with the provincial administration of Catanzaro, the exhibition, curated by Giorgio de Finis, anthropologist and director of the Museum of the Peripheries of Rome, offers 35 pictorial works, some of large format, selected from the most important of the artist, and more than 90 drawings.
At the press conference – held in the panoramic room of the Marca Museum – Giuseppe Sommario, director of the Spartenze Festival and friend of Giglio in 2007, also met the artist, the artistic director Guglielmo and the curator De Finis, with whom the artist collaborates to give life to a publication in which several works are collected, accompanied by texts that tell about this journey in the abandoned villages. A summary text also enriches the bilingual catalog published by Silvana Editoriale for the “Quaderni del Marca” series: the volume also contains the critical texts of Rocco Guglielmo, Giorgio de Finis and Mimmo Gangemi. But in the audience there is also the architect Pasquale Piroso, who thanks Giglio, as he did with the Spanish painter Pedro Cano, who became his teacher. Pyrosus was fundamental to the maturation of his artistic style, which led him to experiment with fusions of language between art, craftsmanship and design.
The exhibition opens with a series of works dedicated to Calabria and summarizes the artistic path of an architect who, at some point in his life, decided to devote himself more to art. Roberto Giglio, an artist originally from Badolato – many of his fellow citizens present, starting with the mayor Francesco Severino – wanted to use “The Forms of Oblivion” to address a recognition of his native country and beyond. He uses white and light to deconstruct faces and architectures, in the instinctive need to seek the essence of things and of life. He paints places and people floating in mystery, in pain, in beautyin their pure and simple essence, forms suspended between heaven and earth, figure and abstraction, reality and imagination, matter and spirit, center and periphery, progress and immobility.
Giglio shows a deep sensitivity to the visual arts, to painting and in particular to watercolor, moving from the figure to the informal. And for De Finis, anthropologist and director of the Museum of the Peripheries of Rome, “the paintings look forward and not just backward, looking far beyond the borders of their own territory”.
“The exhibition in the Marca summarizes the artistic path of an architect who, at a certain point in his life, decided to devote himself more to art – explained Guglielmo -. Giglio shows a deep sensitivity to fine art, painting and in particular watercolor, a means of transitioning between figuration and abstraction, offering him an aesthetic that painting simply cannot achieve. In Giglio’s painting, the figures escape the temptation of the next absence, rising like bastions of defense against the decay of form and the landslide of the lines. Every building, landscape or face qualifies for an architecture of resistance, but not against the change and mutations of time, but against the negative value of intimacy. Everything in him is introspection, it is inner withdrawal, it is lyrical synthesis”.
“When Roberto and I we started our journey we were touched by the urgency to give a feeling to the lands we have left ourselves, moved by the need to give a face to the ghosts that roam the lands who are actually our ghosts. Nostalgia and pain for a world that ends in truth hide fear of the future, make our worries even more apparent. It is tormenting that Roberto’s painting changes into tenuous landscapes in which man seems to dissolve in the full light, but it is precisely in that tenuous light that Roberto Giglio’s entire humanity appears. His painting tells of our slow walking, it represents places where time seems to have stood still; places that, represented in this way, go beyond subjective memory and become a collective memory. Now we do not know whether the countries, our countries will be saved, taking back lives and new forms, we do not know whether our journey, our stories watercolors and my writings) will contribute intersected and complementary to the “regeneration” of the internal areas ” .
The exhibition fits in the larger project of the Rocco Guglielmo Foundation, Glocal V, in the section Cross the territory† offers again the opportunity to get to know and appreciate the creative dynamism of those artists who are passionately committed to enriching the cultural heritage of the area.