MAURO ANDREA On the edge of organised anarchy

Reflections of an Artist:

How I see art:

I believe that art is both the purest and the most impure thing that mankind thinks up and creates.

ART WILL SAVE THE WORLD

Only art and all art forms such as music, painting and the cinema can close the the wide gap between race and culture; but definitely not politics. Thanks to paintings, graffitis, artists’ slogans, the Berlin Wall has been pulled down in advance of its time.

My Art:

By doiung IMPURA art, I have become a dedicated workaholic. My creation bears a parralel to my life; adapting it is as pure as the water in any receptacle.

As an extremely talented artist, Mauro Andrea has a multitude of strings to his bow.

This can be seen in his figurative compositions as well as in his sculptrures and design. To say that we have in front of us a consommate artist is a sort of platitude which does not do justice to his creative spirit nor to his carefully crafted work. His vast production bears witness to elements culled from various cult ures and styles as well as to nonstop introspection.

The fact that he combines many skills places him not only close to the DADA and SURREALISM movements whose heyday was in between the two world wars but also to artists who because of their creative freedom and innovation sought to bring a taste of mocking , playful irony to their work to distance themselves from aesthetic theory. When he is working full swing on his compositions, he manages to find the explanations he needs from a form of sensible auto-referencing; it is as if the outcome stems from the stimulation of a debate, which deliberately ends up being explosive.

It is no mere coincidence that the artist has followed in the steps of his past peers

for he seems to place himself firmly as the commentator of the present time. In a certain way, he is in the proscess of stirring up the doubts, the tensions, the crises of ideals that were typical of the first half of the ‘Novecento’.

As a modern artist, Andrea is a part of and analyses modern society. He fully understands the contradictions stemming from overuse of modern technologies; the all-invasive ppresence of the means of communication. Moreover, he is aware of all the ethical consequences which result from his analysis .

His quest reflects a rational vision since it is placed in a polemical relationship beteen his intense vigour and the world at large around him. That he is capable of portraying allusive images and juggling with different materials has been corroborated when we see his most beautiful compositions in ceramics or terrracotta; or when he has applied gilded patina on his deities , thus frreing mimself from the uncertainties.

His aesthetic experiences, as he calls them, are not pure and have the knack of turning into a message that requires photographic imagination, design or graphics. It is in fact through a complex thought process that he manages to convey all the ways in which the forces of modern life operate and interact: the disturbing, irreverent symbol deciphering.

His aim in art is in general linked to his awareness of the nature of mankind and this is portrayed in in the ‘zone’.

His experience of life is transformed and finalised in compositions which in no unequivical terms refer to thye connection between reality and its image. The mechanisms in his unconcious mind lead him to be extremely explicit, revolutionary, disorderly in his series of brilliant compositions depicting moulded pictorial graphic aphorisms.

Regarding what is looked for, the spectator does not require to check whether the content is authentic, rather it calls upon ideoliogical support for a radically personal concept.

His extraverted artwork communicates on two levels: sensorial as well as intellectual .We are not only amused by it, but, also more importantly, are full of admiration for his masterly skills and the elegance of his workmanship.

To conclude, acknowledgement must be given for the consistency with which he conveys complexity, entwined as it is into a sort of organised anarchy all of which

diminishes the transcription of observable modern artefacts: a sort of classification , as in an encyclopoedia where each entry is in its place and has a role as an aesthetic object.

Article drawn from “I giudizi di Sgarbi” Giorgio Mondadori Editori-2005

Vittorio Sgarbi