Fiori della carne Painting

In July 1993 the European Parliament in Strasbourg, John Boffa had a major exhibition entitled Message to the right, with the subtitle Ecological Works 1960-1990. Visit the catalog of that exhibition to be held that there is capital measured two themes: first the reddish light of the moon, an urban civilization, our, full of ruins, on the other hand, in the light of the deep sea-green, the bottom the sea and even fish of different sizes, either alone when it came to swordfish, shark or breeds, and in dense stands where it was more gregarious species. Actually, the moon appeared much more often the subject of the marine theme, no doubt because it lends itself to a greater number of plastics formulations, but not limited to this. As it was clear that in the eyes of the artist the threat of ecological catastrophe not universal then raised some hopes of being stuck in one way or another. And also because in each case the level of his paintings, he did not consider possible other solution but to pursue the complaint in which he was engaged for several years now. But it all led to believe that John Boffa could not settle for ever to pursue such an undertaking, even if found to be capable of contributing to awareness of the positive maximum, however, remained negative in its principle. Negative in the sense that what it proposed to the eye, was the evocation of the dangers that threaten humanity, not the remedy for these dangers, nor the state of mind capable of encouraging a fight. In fact, one could not deny the tragic eloquence of paintings such as The End of Civilization (1975), junctions (1979), No Future (1979) or erosion (1989) among others. Even if they did so in a formal register that approached the lessons of Metaphysical painting which appeared in Giorgio de Chirico, era genial, Carlo Carrà in the sea of pine or even sometimes in Mario Sironi, the fact remains that those paintings showed us , in most cases, these doomsday visions to chill the blood. Another characteristic feature was the sound of his works which were situated away from any kind of realistic or naturalistic description, as there were some, however, especially among the images like undersea Passing (1971) or Seabed (1979). Here, however, the dominant atmosphere and so frightening visions of the night falls rather than in hallucination or dream.