60artistiperla_LILT

Cristiano Pallara’s (b. Lecce, 1976) first one-man show narrates the human mass through a figurative painting with intense aesthetical energy. The style imposes itself due to its toughness with harsh manners, due to a silent feeling of the incomplete that corroborates the violent sensuality of human gestures. In the pictorial shot we see human masses, captured unexpectedly and not in pose, framed with open but brought closer cuts that are recognisable but never didactic. The colours seem burnt by desert dryness, child of South that re-emerges in the author’s stylistic attitudes, confirm the usefulness of the filtered relationship with your own roots and the atavistic memory. Behind the title, even though highlighting the worth of universal painting, the artist confirms, through an unkempt style, the geographical associations, the historical influences, the up-to-date Italian present in which painting remains a significant value. Pallara makes the brush grind, grazing/scratching the material with an anger that amplifies the paths of the collective atmospheres. Something seems to be on the point of bursting: you perceive strange tensions that stir in the painting. Life shows itself in a chaotic tumult where solely the entropy keeps the ideal scenery compact. The artist does not prefer casually the large size, because the panoramic width, child of the cinematographic look, wraps the eyes and thoughts in the bidimensional representation of the mass. One feels oneself sucked again an again by a reality distant but recognisable. One discovers faces in which one staggers between the bewilderment of the distance and a sudden feeling of belonging.

Painting to unveil the mystery behind the realism.