Giovanni Pagliarello


There are not many Italian painters who have chosen to follow the current of fantastic art,
or better, to express their artistic longings through imaginary elements
which sometimes leave the observer perplexed and confused.
This artistic current is considerably closer to Nordic sensitivity and tradition rather than Mediterranean.

==The story of Giovanni Pagliarello's journey as an artist is a long one. It is a story that branches off at a certain point to do “something different.” That something, often called “work” or “career” intervened for a while, but eventually the old road beckoned and the ancient journey previously abandoned opened upon new horizons and somewhat varied connotations.
==We no longer find ourselves in the woods, but in a vast, luminous plain of sweeping vistas.
==Everything appears slightly altered; we look back and our struggles seem to have been diluted by the flow of time.
==But something remains within us that demands attention and needs to take shape.
==There are images: faces, bodies, objects, oils on canvas recalling the German expressionism of Otto Dix, Georg Grosz, Oskar Kokoschka and, in some ways, also such artists as Horst Janssen and Eugene Berman – but also the “refined” Italian painting of the 70s and 80s (Bertè, Mulas and Jean-Pierre Velly, Italian by adoption) and the visionary realism of such artists as Colombotto Rosso, Leonor Fini and Stanislao Lepri.
==The technical mastery is as strikingly evident as the intensity of the subjects chosen.
== There is a pervasive darkness in Pagliarello's work, with abandoned bodies and gazes fixed on times and places beyond the reach of conscious memory. A dignified stillness graces even the tragedy inherent in those works which seem evoke the termination of the journey. With this phase of his work behind him – once the detour has ended and the original sojourn once again underway – the artist's perspective seems to have shifted, seeming at once both relieved and disenchanted.
==The colours have become brighter and more intense, the subjects more abstract and the techniques entranced by new technologies. ==
The idioms have evolved, the themes are more varied and reality itself seems to make fewer demands.
==The manipulation of photographs and compiling of collages of images creates an effect of estrangement which - to the careless observer - might seem to represent merely an esthetic choice, but actually is just the evolution of the previously interrupted discourse.
== Thus, it must be recognized, he has remained true to himself while adapting to the themes and contents of a world whose metamorphosis over the last 20 years has been so rapid as to leave many artists bereft of ideas, deprived of any guiding light to show them the way.
==The light is to be found within us and the maelstrom that Pagliarello generates with modern instruments leaves interpretation up to each beholder. The deformation of bodies and faces, the assembly of images, ideas, concepts the composition of a new chapter known as future has never been easier.
== The latest technologies lend themselves to those who know where they are going and what they are trying to communicate and even to those who want to experiment with form which becomes content when stripped of the pathos of middle age.
== Pagliarello can take a deep breath and, with the serenity of one who has liberated himself from ancient bonds, observe the changing world around him with new eyes and without running the risk of being sucked back into ghosts and echoes of the past, but rather measure himself against his contemporary co-explorers such as Richard Lailler, Hann R. and Steve Da Luz

Maurizio Guidoni