TILTESTETICA: NEOTRANSAVANGUARDIA
Osvaldo Mariscotti invece offre una soluzione scultorea alla scomposizione cromatica, elevando i quattro colori rosso, verde, arancio e giallo come strutture tridimensionali, poggianti su di un principio basico nero che ha la funzione di rendere più assoluti i colori. È come se i quadri di Mondrian prendessero vita e si muovessero cibernetici sui piani, elevandosi a fasce solide, a bandiere incontaminate, a stendardi si purezza.
Daniele Radini Tedeschi
Critico, curatore e storico dell'arte
Giugno 2014
I MIGLIORI ARTISTI MODERNI E CONTEMPORANEI 2014: OSVALDO MARISCOTTI
Sintesi segnica e rielaborazione mentale, sono le caratteristiche più importanti di un'Arte che ha in Osvaldo Mariscotti il suo nuovo profeta. Il Maestro crea un propio alfabeto della mente, con il quale testimonia le sue idee. Idee che vanno oltre la comune razionalità del segno, e arrivano ad esplorare quei nuovi universi di pensiero.
Salvatore Russo
Critico e storico dell'arte
Aprile 2014
OSVALDO MARISCOTTI: NEW MEANING
"Hmm .... What is it? What's it of? Is it part of a computer? A piece of a motherboard? The insides of an electronical hardware circuit component? A CPU? A modem?" I ask because as soon as I saw Osvaldo Mariscotti's latest artwork I knew what it was a painting of, what Mariscotti was trying to represent. Then again, I might be wrong but, like you, I bring my own baggage ....
Like most people I've never seen the insides of a computer. However, I have seen all sorts of electronic parts through the eyes of an inquisitive 7-year-old child who dismantles everything electrical to explore its mechanics, what's inside them and how they might work. Today, this is how I see Mariscotti's art however subconsciously.
Much in the same way that if Manet were alive today, I do believe that as he was so into Social Networking, he'd also be encouraged by our technological age, and would himself be Tweeting and Facebooking whilst painting 'Music in the Tuileries Gardens'. And Da Vinci would be fascinated by the Internet, arranging its rogue elements into 'Vitruvian Man' compositions, structuring today's world within the artist's world. And so, intuitively, Mariscotti got bitten by the byte; the characters in Mariscotti's canvas balance the pictorial surface through an energetic revolution born out of a painterly rebellion, from Genesis to Generation X, because this is what a good artist does; he embraces the contemporary world whilst following in the footsteps of art history. Whilst, as Mariscotti says, making "a concerted effort to remain independent of other artists' views and forms of expression, in order to remain original ... Leggi tutto
Estelle Lovatt
Critico d'arte, docente ed ex curatore alla Tate Modern
Luglio 2013
OSVALDO MARISCOTTI
Osvaldo Mariscotti has had a lengthy career as an artist. Starting several decades ago - as a teenager - he isn't new to art. But his art is 'new'. It is an up-to-the-minute type of abstract art. Yes, we know that abstract art calls for the obliteration of recognizable forms in place of rhythmic relationships mutual in form, line, and color, but still, an Osvaldo Mariscotti canvas is very different.
Informed and inspired by the exploration of principles between relationships connecting the idealistic analogies of Mondrian, Kandinsky, Duchamp and Cubo-Futurism, Osvaldo states, "I like the work of Klee and Xul Solar too. But I always make a concerted effort always to try to remain independent of other artists' views and forms of expression, in order to remain original in my work."
The central character in his canvas - an oddly shaped, black, entity - turns, floats and cartwheels across Mariscotti's painted micro-orb world, where - like a situation in which a new born child is moulded by its environment - a seemingly distant force helps bring together a certain order out of painterly anarchy. Under structures of beautiful, candy-floss hues, this is a world within a world that follows the second Commandment (You shall not make a graven image or any likeness of anything that is in heaven above, in the earth beneath or in the water under the earth), in witnessing a physical explosion of existence, mindful of its inner core spirit. Pious in nature, it is bound with a living spirit, a faith filtering through the flow of the pigment, automatically and organically ... Leggi tutto
Estelle Lovatt
Critico d'arte, docente ed ex curatore alla Tate Modern
Art of England vol 76, 2010
ASTRAZIONE DINAMICA
Da quando l'avvento dell'arte astratta, c'è sempre stato un desiderio ricorrente nella mente di molti artisti, la ricreazione di dinamismo sulla tela statica. Questo desiderio ha dimostrato di essere altro che un ostacolo insormontabile per molti. Tuttavia, la storia ci mostra i casi di artisti che con successo compiuto questa impresa.
In primo luogo, possiamo fare riferimento a Wassily Kandinsky. I suoi dipinti sono indiscutibilmente tra i primi ad esplorare la connessione e rapporto tra forma, suono e colore, nel tentativo di ricreare dinamismo. Ad esempio, il dipinto Tre Suoni sottolinea chiaramente l'uso dell'analogia musicale. Ora, dato che la musica può esistere solo all'interno di un intervallo di tempo, si può sostenere che nessuna rappresentazione musicale sarebbe possibile senza tempo. In questo caso, l'artista genera una dinamica, che assume il passaggio del tempo, mediante l'uso di forme e colori.
In secondo luogo, possiamo esplorare altri esempi di dinamismo nelle opere di Piet Mondrian. E 'importante notare che, in contrasto con le analogie di musica di Kandinsky, il desiderio di Mondrian riguarda l'emulazione del suo ideale di architettura. Si raggiunge questo atto "esclusivamente attraverso la forma e il colore, nei rapporti tra loro equilibrati." Tuttavia, quando fanno uso di questi elementi, è della massima importanza di rispettare le leggi fondamentali che caratterizzano l'arte. Si fa riferimento ad un equilibrio dinamico", che si oppone al equilibrio statico reso necessario dalla particolare forma. L'importante compito poi di tutta l'arte è quello di distruggere l'equilibrio statico creando un dinamico. Non-figurativa richiede un tentativo di ciò che è conseguenza di questo compito, la distruzione della forma particolare e la costruzione di un ritmo di rapporti reciproci, di forme comuni di investimento o linee libere. Dobbiamo tenere presente, tuttavia, una distinzione tra queste due forme di equilibrio, al fine di evitare confusione; per quando si parla di equilibrio puro e semplice che può essere per, e al tempo stesso contro, un equilibrio in opera d'arte."(Piet Mondrian, "Plastic Art & Pure Plastic Art", British Journal Circle 1937) ... Leggi tutto
Gustav Wagner
Storico dell'arte
Maggio 2009
INGENIOUS INTERLUDES IN THE NEW WORK OF OSVALDO MARISCOTTI
No one creates as gorgeous a surface as Osvaldo Mariscotti whose newest paintings are abstract in the old sense of the word. The artist's works consist of quickly applied thin rivulets, ingenious interludes of thin painterly strokes using effervescent colors - particularly pink and red, and blue striations - that are immediately seductive. With prolonged viewing you begin to see that these taffy colors are saturated with light. The most striking aspect of this new work is how the seductive colors act as a foil for Mariscotti's main concern: how to make paintings that seem purposely "undone" through the visually connecting of what appear to be interstitial spaces within the open whole of each work (which usually colonizes the central blank area of the artist's paintings).
Mariscotti's new paintings have colors-beautiful, off key, hothouse colors that fail somewhere between the palettes of de Kooning and the designer Romeo Gigli. The artist is an intense surface-worrier and segmenter of planes and no wonder: his new paintings are bold experiments in the structuring of space without using the normal emphasizing the traditional methodologies applied to the surface. Using very little paint applied so as to signal the greatest amount of surface tension spread out against the pictorial planes, the artist's paintings are ethereally transparent. The work, liquid to the point of formlessness, seems to be on the verge of purposeful disintegration.
Mariscotti's new work, for the first time, has eliminated from any literal references to representational reality from his work. In its place he has made as the theme of his work an investigation of the underpinnings, the structural support surfaces of his pictorial spaces; at the same time as he seems to be on the verge of dismantling them ... Leggi tutto
Dominique Nahas
Critico e storico dell'arte
Gennaio 1999
OSVALDO MARISCOTTI: INTERIOR LANDSCAPES AND THE AMBITIOUS EYE
There is enormous ambition in Osvaldo Mariscotti's paintings and this ambition immediately challenges the mind and eye. In these exuberantly colorful and densely textured paintings Mariscotti's great gift is his ability to create panoramic pictorial fields that teem with paradoxical elements of intimate subjectivity. These works, though, while heavily expressionistic are redolent with intentions of expressing aspects of the sublime. Also, a constant sense of flux and reflux is sensed in these deeply-felt works and I would attest that their persuasive powers are sensed primarily through their atavistic and vitalistic energies.
The vibrancy that results in Mariscotti's work is a residual effect of a combination of factors. The most considered is the artist's seeming passion to depict an interplay between two and three dimensionalized realities whose charged pictorial fields contains both the seeds of nascent world or exploding worlds. Additionally, a sense of palpable mystery abides where the profoundest knowledge of the unimaginable - through imaginary gaps - seems to be laid bare. It is through these gaps, these near-mystical voids, that the central intentionality of Mariscotti's works - to unveil an aspect of sublimity - is carried forth. He attempts to depict a sublime sense of magnitude in which the viewer's mind substitutes his own infinity for the apparent phenomenon of infinity before him ... Leggi tutto
Dominique Nahas
Critico e storico dell'arte
Maggio 1997
