Luca Palazzi

Tra Goya e Renè Girard (Silvia Guidi - L'Osservatore Romano - Vatican Newspaper)

Link: http://vaticanresources.s3.amazonaws.com/pdf%2FQUO_2014_018_2401.pdf

English Version: "Looking at the works of Luca Palazzi means venturing in a disturbing Playland inhabited by a "moveable party" eternal , out of season, mirror of a dark and cruel world that, on closer inspection, is very similar to that in which we live every da...y. The symbol of this "Zeitgeist" the spirit of the time (the last title shows of the Roman painter, much loved in Austria and United States, as often happens more popular abroad than at home ) is that Chrono devouring his children, a father and blind self-destructive painted as a tribute to the dark force expressive of Goya's Caprichos, but with a very “personal touch”. The inverted paradise of Evil, in the playland of the paintings, it’s populated by images deliberately irritating and annoying , such as greeting cards parodied, invaded by details out of context which change to sign the message, the effect is thrilling, as when, in a science fiction story, to a few lines from the end humans are revealed as the real aliens , and the reader realizes that could
him very well be the villain of the storia. Listening Luca Palazzi speaking about of his paintings ("We are all outraged, all we get closer to great strides towards the abyss but it is not that we are interested much. Distraction is the disease more widespread in our time") in return mind the verses of huge prayer Fabrizio De Andre ' Cultivating quiet the horrible variety the majority of their arrogance is, as a disease, as a misfortune, as anesthesia, as a habit" Continue Luca Palazzi. "Lately, in the field of art things is getting more and more useless and always larger. Basically it is all about images. I do not like pictures that say nothing. On canvas I have to find something that first of all hit me, then get to the other" The effect is obtained utilizing poor tools, such as acrylics, pen, chalk and worked with charcoal and spatulas kitchen knives and, in terms of composition, with images inspired by opposite pairs (as the Fetus/shooting; scarecrow/sky) and variations on portrait theme that explores the cannibalistic dynamics of power, a la René Girard, "it’s about leadership, at first everyone loves you, then you become a scapegoat, from the rise to “Piazzale Loreto" fold the author, who draws inspiration from paintings Balthus, from the works of Joel Peter Witkin and
William Kentridge , but also by the Lars von Trier movies and the advertising campaigns that we find in the pages of glossy magazines. The most sincere compliment heard among the visitors, during the last exhibition in Rome, is, perhaps,
even the least appropriate to communicate to the author, but so be it: " Strange that a painter non-believer is so effective to make the martyrdom theme" In the framework of which we speak is a scarecrow on fire, in front of a sky that swells and opens into the depth of blue: a powerful image of death and resurrection . A prophecy "in spite of " confirms the author, which is not a Christian, but happy to see how many interpretations his paintings generates, a reflection in the prism in eye of the beholder , "Who knows the campaign knows that the scarecrow is burnt when the ears are already high, and you can think of the harvest ", a beautiful, very real metaphor that recalls briefly , the first martyr Stephen, the heavens opened and Paradise." Silvia Guidi