About Giorgio Fidone’s painting
To write on painting is impossible, a painting is already a writing, it is always something else we are talking about, it is more a conversation close to painting that would be in the timelessness.
If a painting gives an image of art it should be art. To say that a painting is a painting is great compliment to it. Was the purpose then to make a painting?
A large number of artists focus only on the sole action of painting, of making a painting whose reading will become that of a painting. Others want a priori make a painting, figurative or abstract. They thus defend an idea that certainly needs to be defended in order to exist.
Bringing a piece of art to life is an artistic motivation. One paints to make a painting therefore Giorgio Fidone makes paintings by painting. Nevertheless, there is an alternative idea between the painted image that is a reference to the image or to an ideal representation of the creation on an obviously symbolic level, and the picture which is a painted object and whose meaning is secondary to the quality of the object, which originally could correspond to the beautiful object made to satisfy the eye.
The point of junction of the two approaches remains clearly the beauty we can approach but never enter, never manipulate because it escapes us and drive us farther in the future of memory as an opening in the space.
Merely contemplating an icon can give you faith again in a future of light and the beauty of a painting detail can inspire you and lead you to contemplation. So we have two notions of painting, one of an open space with a painted surface and one as contraction of space as an object.
The paintings of Giorgio Fidone lead us in this dimension by an ambiguity specific to art that is to find a balance and hold a reflection of life between these two artistic realities. What the artist realises corresponds to the presence of our future through the vibration level and therefore a stylistic description of this cosmic landscape we are going through and which is changing. What we call art history is proof of the passing. There is a trace, since the cave paintings, and well before the positioning of the globe since it was launched. This testimony is done in many ways. In the work of Giorgio Fidone the black figure drawn against a pink background reminds us these traces left by the ancients. Sometimes huge as if they were seen from the top but simply like the friction of the air by its vibrational quality at the time of rotation of cosmic progress had left its mark, its meaning, as evidence of a dialogue uninterrupted between heaven and earth, between our sense o belonging and our future. As the picture belongs to the painting for it to be seen and understood. There was a time, at the height of some civilisation, where art was perfectly integrated and understood by society. As civilisation we ourselves will know if we have a future when we will be able to admit again the creation and beauty of our time. The art of Giorgio Fidone also expresses the character of his native Sicily, this balance between past ages and taste for the adventure of thought. The risk is to do what nobody else does because it is taking the risk of isolation.
The background of the painting is pink with sometimes items picked up on the ground, found at hand, for the sake of material. Some of his paintings make no apparent dichotomy between the background and the subject according to the tradition the art of the Renaissance disrupted momentarily. The details that make up the painting are of equal significances as they are supposed to be part of a whole which is the painting.
Yet admiration at any level of subtlety is what motivates. Otherwise magic, surprise that make us a world viewer loses its charm. It is a reflection of perfection and movement in its harmonious voltage at which the artist attempts to integrate himself to draw it as a selection of his experience the inspiration of his artistic direction. Giorgio Fidone takes part in this movement, through the unconscious, distills the maturity of a reflection to make it succeed. His paintings come to us and to the one who knows to decipher the language, take us back to silence.
All that is significant is language and for painting it is no, of course, sound but the sonic vibrations because everything is vibration in painting. The signs of Giorgio Fidone are those of a language directly transmitted to the soul.
The artist makes us win a few light years in our perception of the universe. Giorgio Fidone as an artist comes therefore as one who informs us by his imaginary of a universal time, better than any instrument can do, and to be deprived of this information would mean to be separated from the sky, or not to be. It is just about to look at the painting and to be transported to where it leads us, paradoxically because it was created to lead us out of the uncreated: in the eternal instant.
Translated by Gaya Goldcymer