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Art Critic, Journalist.
Salvatore Morgante and the Soul Emotions. The Emotional-Material Abstractionism
The impression and the emotions generate a sublime matter in Salvatore Morgante’s art. The “intangible trace” changes its shape, thanks to its ability and its pure sentiment, turning into pulsing and lively authenticity. Those who look are captured by the colourful textures of the canvas radiating pathos, and stop to listen to the music that comes out of the stratifications of thought.
Spontaneous aesthete, a lover of the volcanic matter, a wise blender of shapes, of lights and shadows, of memory and oblivion. He translates the intangible of the soul and then throws it on the canvas giving it life through earth and contrasts: uncertainty and certainty, depth and elevation, rationality and inspiration, quiet and movement. His bold interpenetrations of matter, the fast epiphanies, give light to the mind, as he explores the depths of the unconscious. In the meantime, they let in the emotional background of the viewer, who goes through those “soul paths” as in an existential path, dispersing in flowing settles, in the vital eternal never-ending strength of the emotionally vibrant colours.
Attractions and rejections, compulsions and needs, tension and quiet, explosions and implosions, order and chaos: opposite poles that chase each other and blend in, they merge and generate: finally, they come apart in aesthetic differences. The human condition through heartbreaking emotions: a paint rich in suspense, hopes, dreams, but also, and mostly, the ever-changing background that aspires to extend ever further beyond.
A vastness of unknown universes from which impetuous lines, harmonic froths, interpenetrations, symbolic convergences come out. Painting-sculpture created as life, like the universe creation: hidden, vast, lived by planets and galaxies in which the human genesis seems to have been casually generated.An infinite expansion, a primordial deflagration, similar to the idea of the Big Bang, characterizes Salvatore Morgante’s “emotional-material abstractionism”, which is an open universe in which the density of the matter compensates for the speed of the expansion of his incisive traits, thrown on the canvas, secret and apparently casual, but similar to the men genesis.
It is a vibration of tense and subtle strings, happening when the eyes of the viewer and the work’s meet. There is no rationality wondering about the truthful forming of the matter full of images, but it is unconscious, with no real further mediation. It trembles at such vision, it reacts, it suggests. The empathy is the immediate first reaction that does not need difficult translations. As each one follows their own change, sinuous mutations, they all reinterpret the matter as it turns into different and constant metamorphosis. A scenario that is never static, it is always changing, an unlimited suggestion of emotional modulations enriched and passed on when the eyes meet.
Just as sublime are the words with which the artist himself defines his bound to his own art: “I felt the impulse of creating to give life to feelings. My art is made of moments, feelings, emotions; sentiments that I translate to the canvas through the colour, the matter and the gesture. An unstoppable impulse that forces me to create. My life and my art are, today, one thing. Everything is a source of inspiration: a sentence, a thought, a sound, a smell, a colour. Places, time and space influence my creations, they become a full part of it. The creative moment is a sequence of thought and impulse. Thousands of different instants, discordant stimuli, immediacy, memories, impressions and colours. They all, in harmony, allow me to show what gives me life from within. Sometimes it is a shout, some others a whisper, some others contemplation. But, it is always life. I wish my art could speak to heart, to minds but, mostly, to souls. I think the soul lives in the work of art, in the depths I leave in the matter”.
“M.E.D.G.” is dedicated to a real person. It represents the human condition dictated by the passing of time. The painting depicts the past life as it relives in the becoming of the current life: the vital breath of youth, revised through experience. We are those who we used to be and every passing day does not really change us, but gives us more awareness.
“Nippy”, dedicated to Whitney Houston, is rich in inner testimonies. The artist had the chance to meet the singer and they shared a few moments during a concert. He could feel her sensitivity, which emerged from the clear deeply enlightened eyes. Whitney’s melodious voice, which had accompanied the moments of a whole generation, was to Morgante’s eyes the hope that goes beyond the frailty of existence and the redemption from the darkest moments. The colours of the painting are Nippy’s favourites, the incisiveness of the traits embodies the past tensions and sufferance. The eyes, intentionally marked and idealized, are nostalgically bright. The image he took inspiration from is a frame of the video “Miracle”, in which existential questions about abortion are present: “How could I throw a miracle away?”. In a wider metaphorical sense, the miracle of life is something that belongs to all of us, the gift that sometimes gets lost or overshadowed. The miracle of existence is present in every pulsing expression of the matter and colours of Morgante’s paintings.
Just like he translates the intangible of the soul and throws it on the canvas that live through contrasts, uncertainties and certainties, depths and elevation, rationality and inspiration, quiet and movement, with the very same emotional research he photographs the existence, the changing human conditions, making them the images of the eternity. His shutter clicks grasp the “forever” in the becoming of life, in the uproar of the contingencies that go from sadness to joy, residing in the contrasts of such intense and truthful image.
As Salvatore Morgante underlines, “This work walks us through the research of faces and stories that are apparently far from our culture. Far but close, as they happened to men and women like us, that fight to live every day, and that, to survive, had to face a long journey. For many, unfortunately, the last one”.
He is one of the “meta-dimensionism” artists: the three dimensions of space (length, width and depth) and the dimension of time are substantiated by the dimension of emotions. His “art of the soul” explodes almost unexpectedly as he gets involved in numerous events that represent the most concrete answer to the “heart wondering”. The emotions he throws on the canvas encountered the public and critic consent. He has recently taken part in the XI Biennal of Rome; he was a guest of the Victoria Gallery in China in “The West Lake Art Fair”, and of the Association “Ars Docet” in Dubai.
He was invited to take part in other projects in Paris and Dallas. Among the critics who wrote about him, Professor Nuccio Mulla stands out. Professor at the Fine Arts Academy “Michelangelo” in Agrigento and member of the International Association of Art Critics, who discovered the artist and was the first one to describe his art: “Arcane overlooks of natural and anthropomorphic evocations; blinding and darkening scenarios; compresence of supersigns of the excavation through the thousands of mazes and caves of the ego; multiplications and elevations to power in perceiving how symphonic balances are simultaneous; in unison eruptions of explosive stratigraphies in sparkling colours; seductions and spells of hyperhuman landsapes in the momentary pauses of composure, before any other eruption of the matter in new and diverse aggregations and dispersions; enigmas and supersigns prophecies; totems of spells and invocations; galactic conflicts between blinding glows and unexpected twilights; oases of solemn serenity, in silent expectation of every judgment of Fate; tsunami of quakes and storms; golden planetary bringing together the languages of lightning and meteors on staves of torment and ecstasy; this and so much more in Salvatore Morgante’s production, of yesterday and today (absolutely self-taught, but commendably Master). And all this in a congeniality of messages and objectives, and only apparently, a subsidiary diversification of techniques, styles, paces and creative outlets, also to prove that, if this means “Eclecticism”, “, the artist has done well so far, not to “pick out” just for the joy of the profane”. Professor Luisa Trenta Musso has instead focused on his felt critic research of expressive authenticity: “A prodigious artistic production, whose “secret workshop” must not be violated with analytics methodology, but only experienced and lived together with the artist. It must be heard. Because it is a wondrous interlocution of irresistible charm. Magnetic. It is impossible to walk past it without being captivated. Overwhelmed by the fascinating spectacle of the becoming forms; from the utopic sublime of a world that can become better; from the amusing antinomian symbolism that links light to darkness, black to white, top to bottom, in the great infinite history of creation.”
Undoubtedly Eclectic, Morgante realized a calendar “A good year for everybody”, linked to the topic of immigration, where he managed to describe, with the same poetry that characterizes his aesthetic transformation, the realities, the sufferance, the life but also the happiness behind a smile, despite the apparent sadness. Such images ended up in the expositions “Saved Life” (Chiaramonte Castle, Favara), accompanied by the words of the portrayed people who would talk about their dreams, hopes, dark lived moments.
The current project is to realize a book with the same shots in collaboration with other actors who will work on the text. In Morgante, the soul lives also through photography.
Dott. Paola Simona Tesio
Art Critic, Journalist.
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