LOREM IPSUM Painting

As we observe the art works of the last past years of Giuseppe Corradino we can notice a sharp turn compared to his past of figurative and find ourselves in a painting conflict and dizziness in an environment without shadows that is much more recognizable and traceable to its author through the use of “fingerprints” which symbolize the signature, immersed in an atmosphere of informal structure or photograph. His “imprints”, human's icon, on the symbolic equivalent to the forks of Capogrossi, the sacks of Alberto Burri the iron of Janis Kounellis, to the cancellations of Emilio Isgrò. In all of this is a expressed communicative in a high content of intentionality. The imprint as a distinguish mark of his work assumes a evocative force as a universe character with a number of meanings and associations, that go far beyond the geography of the skin. The imprint also as a face, a mark that erases another image, to express disagreement, to deny something, to express a membership. The imprint still like structure, imaginative architecture in which the painting that determines it is declared without veils as a procedure far from gestural instinct, to become a concentrated mixture of attraction and removal conditions common to the crossing, suspended between stillness and movement. The imprint al last like a labyrinth, metaphor of the mystery of life, a place to go and live, in which we engage the doubt of choice through further or possible roads, a hymn to freedom, although not always shuttled toward desired or desirable landings. In particular his “imprints” are unique and indelible marks of a humanity that speaks different languages, that nourishes different feelings, that articulates life at different times, but that is able to combine all this wealth of diversity in the convergent and a shared sign of a labyrinthine trail, made by lines that seek, question, that do not delimit, but run through, free to discover the artist-man in his intimate and fragile memories. With this rich semiotic abandoned to the outbursts of centripetal or centrifugal dynamics that suggest a trajectory but do not teach the path, the artist tries to give a durable cut to the wounded body of the big contemporary vision, that often in the mare magnum of doing art in our days is identified in the image of an ulceration of the soul.