Layers of skin

The first time that I saw the oeuvre of Vincenzo Giugliano at the Entrepôt Gallery in Paris, I suddenly felt impressed by his work.

A painter! Something very rare today!

His work had a common point with mine even if it was diametrically opposed: the research of a new perspective of the image.

Three superimposed layers of "skin".

The first layer consists of a collage of cut outs from the printed page, where this painter carries us to his personal idea of re-writing reality. Mixing the last massacre of whichever stupid war with the last inanities of the jet set, or the monstre du faubourg who killed his wife and son mixed with a Charlie Chaplin photo, politics and the aberration of a world that clashes with the typically ironic Neapolitan sensibility that we find at the foot of the Vesuvius for over 2,000 years.

All of the sentences above create a spirit of poetry of the word.

The second layer of Vincenzo Giugliano's work covers the first one subtly with a white and gray transparency, exalting the first layer with great harmony. On top of this second layer, the artist coats on an image of daily life at once classic and modern.

The observer's gaze assumes a va-et-vient between these three layers and when their gaze arrives at a point of equilibrium, the painting takes on another dimension, it creates a vibration, imperceptible, and in this moment, the work comes to life, a life that goes beyond the obvious image. In a post-historical world, poetry takes over.

Alain Rothstein
Paris, October 2007

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