“Genius is wisdom and youth”
“Genius is wisdom and youth” wrote Edgar Lee Masters: a difficult balance because the error is in ambush, but the error makes no disappointment if it is a true error, a wandering along the meanders of the uncertain truth, indeed it confirms the wisdom of youth. Other is when you err by imitation, indeed you sin by imitation: but this type of error is possible, frequent in the young (an error that immediately destroys them as young people and makes them frighteningly old) you look Fabrizio Vatta, who combines artistic wisdom and moral youth, besides the age.
At the exit of the twentieth century the problem is serious: the entire century has sinned by imitation and has lost its youth. The question is how and why it was what it was: because we continually played to imitate the innovation for ninety years.
Fabrizio Vatta has had two masters, at the highest level, who represent the two opposite ends of the artistic experience of the century that is dying, Emilio Vedova and Luigi Tito.
The dialectic mediation operated by Vatta seems to be an expression that enriches the ideological perspectives, a speech itself completely right: a fortunate hand, an elegant figurative capacity have allowed Fabrizio Vatta until a short time ago a realistic dimension that exceeded the image in an acute effort of psychological penetration which appears admirable in a long series of portraits.
But the influence of Vedova however strongly disguised does not allow avoidances, the restraint absolution, dialectic in truth is not, if not for historical analysis comfort: in fact, inside the single painting the image serves as context to the background more that background serves as context to the image, as shown in the figures of the Gestalt-psicologye. This reciprocity of roles is a symbolic form and does not allow further solutions: each painting is strongly dilemmatic, the role of the viewer for the authority of the painter is limited to one possible choice: or so or so, tertium non datur. The painting of Vatta as the sublunary world of Plato, hovers between being and nothingness, indeed between nothing and being, because being always remains a certain and possible landing place. Speaking of his sympathy for Francis Bacon, the cultural impact that this great painter exerts on him, Vatta professes to love “the death”, but he clarifies that he loves “the death that becomes life”, not renouncing then the positive aspect which appears clearly in the light of his
Thus the existence dissolves in allusive omens as the violet jacket of “Dentro la tua anima”, or as the trace of the armchair in “Isola di silenzio”, or in the woman’s portrait of “L’indovina”. There is always in these paintings a sign, a reference, a wink to the other, to the being that there is beyond this not being that there is not.