Critical Anthology of Art


Prof. Carlo Franza,

illustrious Historian of Contemporary Art on an international level

Carlo Franza writes: “Photography, sovereign art, has told the story of modernity before and postmodernity today, with shots that have made reality solicited by a progress of continuous and visibly elastic sequences, such as the futurist photodynamism of Anton Giulio Bragaglia, quest process the last one that prompted the recent work of Pasquale Petrucci, the architect of urban alterations (buildings) and dynamisms (people). A sophisticated theater of anonymous, striking, disenchanted, surrogate, wild, naive, out of phase and enigmatic images, the risk of a daily crushed and torn but also allusive, implied, seductive and pathologically oriented towards the natural side. The dream is revealed so real, ready to discover itself in a stale light that masks the body in love with the streets, districts, the city, the territory, and burns with atmospheric colors the slice taken, the borders with its rhythms, the places where human features palpitate, architectures immersed in the evenings of otherness, insistent and implacable mirages. The images reveal the luck and the trace of mirages, the estrangements of this sacrificial operation that invites, as in an ecstasy, to close your eyes and look under the pressure of optical impulses, while a camera captures ghosts and restless shadows, shipwrecks and sways , traces and flashes, artifices of a sure eye that knows how to grasp the vain of existence. So Pasquale Petrucci with a formative flair and corrosive shots moved to the production of chapters where he projected the transience and beauty of the world, in diversity and evocation, discovering dizziness, burrs of emptiness, filaments of siege, branchy encumbrances, shadows in movement, fragments of cracks, bare macules, feverish colors, announcing a network of different visual alphabets that are now the portrait of its new contamination ”.

Landscapes of the mind

Ada Patrizia Fiorillo

Professor of History of Contemporary Art – University of FERRARA

For a couple of years Pasquale Petrucci has been working on a cycle, to which he has given the title of “Contemporary Nuraghe”, for which, almost obsessively, he uses the image of an urban iconography, that of the so-called car cemeteries, which, reduced to carcasses, they end up, stacked up, occupying peripheral spaces of the city, still belonging to the geography of the gaze. They are compositions that I would say formulated in the light of a temporal dislocation: images, in essence, that the artist has memorized, returning them with the taking of a photographic fixity, according to the perspective of a rigid composition, with thoughts directed, obviously, to those houses – fortress of very ancient origin, built with conical stone bricks. Contemporary nuraghe, precisely, on whose cut of immobility intervenes the fascination of the lexicon and of the layouts typical of the current of metaphysics that the artist often refers to in various testimonies, as a guideline of his own creative path. Except then having to point out that his compositions are the result of studied digital manipulations. Basically, to clarify what I argued above, the artist works on the thread of a double time that pushes him backwards, to reconsider the De Chirico message, to the point of assuming it as the leitmotif of these paintings, and at the same time forward, reaching to such narratives through the most recent “virtual” processing practices. Nothing strange after all, since it is for one part of the content and for the other part of the form. I would therefore be tempted, with the eye of distance, that is to say of direct non-involvement, to re-read Petrucci’s creative experience out of the frame in a poetics whose references appear fleeting and even a little risky, as if to say occlusive, for the topicality of his research. By placing the “metaphysical painting” for the artist at the level of suggestion, since the enchantment of that season, the reasons that had generated it in the same rendering of the expressive means with which he tried to penetrate the mystery of reality, appear today certainly unrepeatable, I would say that, on the contrary, in his paintings an original ability to relate to the everyday, to grasp through a chosen image, the restlessness, the discomfort, the tensions that accompany not only his own, but a multitude of existences. Somehow Petrucci turns his attention to a “landscape” that the twentieth century has given us back as a technological and urban image, concentrating on a fragment of it, in the context of a more general indeterminacy that now wants, up to our days, completely the possibility of drawing a unitary image of reality or at least coherent with the development of human history has been disrupted. Perhaps it is precisely with respect to this state of consciousness, radicalized in the subjective perception of the scenario in which we are immersed, that we have to read the artist’s inclination to repeat the iconic subject assumed, almost a form of coercion, favored by the use of the medium itself. expressive. In fact, it has been said that Petrucci has chosen the language of “mediality” as the prevailing technique of these creations that rise to the value of painting, whether it is those mixed techniques, obtained from the amalgamation of photography and oil colors, or those which he calls “photocompositions” resulting from the application of digital practice alone. The latter is not a casual choice, to be read as an added value to the need to communicate. In fact, works such as Composition NV 033, Purple modular element, Red balance, Clessidra, Fuego all from 2005 remain central and even more iconic in this path, where the artist plays on the interference of chromatic modulation as a fundamental element of the composition that welcomes and distributes the same subject (demolished cars) according to various formal perspectives, now following the soaring of precarious vertical balances, now the perpendicularity of a horizontal line, up to accumulation (the ascetic attraction of the mountain) or to the saturation of the page as in Fuego . The latter is one of the most intriguing works of the cycle, where the subject becomes a sign-writing, a symbol, assumed beyond the decorative value, as through the design of an impenetrable scenario. These are landscapes of the mind, on which, to sharpen the perception of the artifact, the cold light of the monitor intervenes, even though it is uniform in the variation of the chromatic layers. Clear backgrounds of reds and blacks, greens and blues, grays and blues, yellows and reds, artfully studied in the dosage of colors and tones. They are the same colors that, when animated, reappear in the mixed techniques where Petrucci uses brushes, to fill with the body of the oil, gaps and interstices created in the photographic recording of the subject. Conceptually, the escape from a

March 2006

Literary critical presentation of the paintings of P. Petrucci

curated by C A R L A R U G G E R                

Association International des Critiques Littèraires-PARIS –


l transcendent: this is the key word that should bring greater awareness to human existence – even if finitude belongs to us, even if the gaze does not go beyond the tenuous line of horizon. of senses and spirit and from that ancestral recess, to project outside a pure gaze smoothed by every slag-impediment. The pictorial art of Petrucci Pasquale – enriched with symbols, is strengthened by virtue of a color imprinted – now with lightness – sometimes with material thickness, or again, with the “choleric force” that belongs to the author and to color – this entity that belongs to us in the depths and in various aspects seduces and disturbs, submits because we can welcome with our eyes (GOETHE): “the totality, that is, the perfect balance, because the search for life makes use of colors, sounds, from everything that our senses perceive of the external world and that perhaps, after all, already exists within us. “


Therefore, to embark on this path of memory – a memory that makes use of the fragmentary nature of life, which “feeds” on apparently useless things but which in the context they give the measure of our existence – is necessary for the Author to achieve an Idea , trusting in this to reach the user, the one who does not know but who carries within himself the germ of knowledge sometimes flattened, or extinguished, deriving from the epochal scenario in which he is living.


Only the Artist is granted the gift of investigating the origin of being, its transformation, projecting himself into a dimension that is not alien to his thirst for appropriating the truth, or part of being. Gift and suffering, rigorous investigation, creativity-encounter: this is the highest aim of an Art that concedes everything and takes everything away if the purity of the gesture that is memory and synthesis is lacking. in the vast sea of possibilities, of the variability of an encounter with the coloristic material for a metaphysical conception of things and of the world. to which aims and intents flow, dynamic projections that result in relived and transformed realities, in which the user can risk his introspection for new freedom of thought, of communication.


In concrete terms, I affirm that Petrucci’s pictorial personalities take on a singular connotation in today’s artistic scenario – they emerge with the intrinsic peculiarity that is that of communicating – What? The transfigured object and placed in the act of highlighting complex moods – not only : to affirm that their appearance is not mere intrusion – but to connote, reject the ordinary, “illuminate” for moments the common vision of what animates and surrounds us, so that thought reaches considerations that go beyond the everyday life. We add the introspective vision of a nature with its “cuts” that affect the landscape in motion. They dissolve ancestral bonds that sometimes resist to lead us into a fluid current of thought and feeling of living.


The evolutionary force of color is evident, that internal propulsive thrust that animates the figures, the interiors – that “landscape” with apparent immobility, which shines with its own light and at the same time reaches us, penetrates our individuality as finite and unreasonable beings. The irreplaceable woman-entity becomes and assumes by the will of the self-transfigured embellished by that proposing elements – key to diversify her existence, to grasp it in the affirmation of a real that goes beyond the same – in a space or dimension that goes beyond from everything because his “entry” into the world – the world that the Author himself desires for the Woman free from patterns and impositions – is unique and unrepeatable – an emergence from the terrain of history covered with a new identity – atypical figure in a dimension that frees itself from materiality to reach transcendence, break the possible and there – emerge with its enigma, the answers incomplete but which nevertheless give the measure that the truth lies between things and the world.


Pasquale Petrucci – with his rigorous investigation towards a metaphysical vision – opens a breach towards this direction of ideality and beauty in which the observer can encounter a truth in the depths of things or events that gradually take on metamorphosis and transcendence in the ordinary. rhythm of life. From this encounter-clash with a disarming reality, the freedom to grasp what is beyond – what cannot be grasped, but which is, exists in us, lives in the soul of the artist as a viable goal that will lead him into illuminating hypotheses and perfection.

C A R L A    R U G G E R





The poetics of the master PETRUCCI PASQUALE grows and develops between figuration and geometric abstraction and gradually reaches calibrated compositional results.Objects in space are a motif of constant inspiration, a means to break down the form, to make it unprecedented and vibrant. modulations of the geometries creating original light effects.





The world of demolished cars constitutes the horizon within which the cycle of NURAGHE CONTEMPORANEE works moves, which includes the Red Balance and Clessidra panels. The reference to the problem of recycling is constant and in the two works just mentioned it is accentuated by the composition. In Red Balance the cars are distributed along ascending lines whose shape leads the eye to wander and focus attention now on one detail, now on another, and then get lost in the red background. Reading becomes possible only from a distance where the accumulation takes on the appearance of a peninsula, of land invaded by debris, surrounded by a sea now far from its original color. The play of the interferences between the represented subject and the way in which it occupies the space becomes more explicit in Clessidra where the reference to the temporal dimension is evident, already declared by the title of the work itself. The colors chosen by Petrucci for this panel contribute to the general sense of the work in which the request for attention to the environment now becomes a warning.





The artist faces the dimension of the city in a European key, with a gaze capable, through urban compositions, of evoking the profound connection between different canons of beauty. On the one hand the cold architectural line, on the other the soft curve of the human body. Both let themselves be shaped by the light to better highlight their beauty. The urban models taken into consideration are the main European capitals, to strengthen, through the universal language of art, the awareness of the collective enrichment of the artistic heritage in a united Europe. The mixed technique sees antiqued black and white photos marrying with oil colors on canvas.




The artist lives and works in Salerno, his works are visible in the virtual gallery of his personal website. His search flows fluidly towards communicative anxieties guided by his artistic introspection. The works of Pasquale Petrucci enhance the eye trace; the Artist expresses himself with great strength of creativity by solving architectural constructions, and filtering figures symbolizing structures and sign settings. The verticality of the work combines lively harmonies of memory, able to define its own expressive language, translating the symbolic atmospheres with metaphors of reality. Petrucci translates his freedom to communicate with commitment and methodical study, constantly absorbed in his fantastic creation of parallel worlds, looking for forms of emotional energy in which to identify and extract vital force, enlivening the vision of each narrated theme with description on the edge of the unconscious .



By Alino

esposizioni di Arte online

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