GEOMETRICO B&NGEOMETRICO col. GEOMETRICO fig. ASTRATTO TRENI BIOGRAFIA Rass. STAMPA

   

WRITTEN CRITICAL

 

Evandro Muti espone alla Galleria Valorart in via del Ginnasio fino al 13 novembre.

E’ un giovane artista autodidatta viterbese che nella vita fa l’impegato.

In realtà, per vivere veramente e con passione, dipinge e lo fa in maniera coinvolgente e diretta, raffinata e meticolosamente reale.

Domina musicalmente il colore e la luce e dal suo modo di comporre rigide geometrie e masse di colore traspare l’antico amore per l’architettura che ha cominciato a studiare per poi dedicarsi esclusivamente alla pittura.

Il gusto architettonico, la capacità grafica, la padronanza del colore e il senso della luce appaiono armonicamente combinati in ogni suo quadro a tal punto che la semplice raffigurazione di una presa TV avvince quanto un portale o uno scorcio architettonico.

La sua essenzialità minimale arriva quasi magicamente all’iper-realismo e la profondità di ogni sua immagine è esaltata dalla luce e dall’aria che attraversa le ombre.

La sua espressione grafica e cromatica potrà senz’altro portarlo a livelli sempre più elevati anche perché alla sua abilità fa riscontro l’immediatezza di un linguaggio semplice.

 

Giorgio Pulselli (Il Messaggero) 2004

 

 

 

Changing colors, pungent, gay, objects presences that incarnate ideas and meanings, spaces without shadow inundated with blinding sunlight, metaphysical spaces that eliminate the logic of time, but also sensations of being fenced in, of separation, of loneliness, of looking inside oneself again.

With his work Evandro Muti soar between the unforeseeable and the impenetrable sense of freedom associated with the adventurous idea of travelling towards a known, a journey that pulls, that burns life, endless tracks that spur the fantasy, where fragments of life assume the semblance of a different dimension, tracks that carry away and embody the will to live, short solitudes, small fears, moments of reflection and personal perceptions far away from the frenetical rhythm, meditations that unexpectedly occupy our space-time dimension giving space to a journey within the journey inside ourselves.

Then the artist deepens the human course of introspection but also of the unexplainable with his images of monumental but ethereal Doors of which one perceives the weight of the wood lightened by the use of a compact and emotional color, reproductions loaded with meaning of an object that express a high level of poeticness; his neat Windows of decisive colors, that are reproduced here because of theie intense significance of being closed in and of standstill captivated by man.

It is a key to read his work that Evandro Muti imposes upon his admirers, a pleasing encounter with a non-strident chromatical and energetic palette, sometimes electrical, sometimes pastel, that never leaves the opportunity for indifference.

Muti’s is an outlook on life that has a tendency towards the positive, where colors, the essence of his interior course, assume a primary rule, synthesize glimmers and fragments of things seen; a color, Muti’s, defined in such a way as to eclipse the instinctive identification itself of the subject of the work, because his a color that creates, that forms, that provokes intuitions.

Confronted with the mighty blue doors, demarcated by one single deep, lateral shadow, with the shutters so perfect and so detached as to not even allow the light to pass through the slats, imposed as an emblem of the division between physical and conceptual spaces, we suspend our pulsations.

There exists some sort of progression in the shadows, from the presentation of a gray door that brings to mind the divisions and panels of old church doors, the most poetic of all, in which the shadows are barely hinted at and in which a delicate linear rhythm is predominant, going on to a blue door that reminds one instead of the huge drawing rooms of monumental houses that express a sense of closed-ness, and not by accident the painter inserts a small yellow square at the bottom almost as if to invite to look beyond; followed by the blue doors of ordinary houses in which both the traces of the shadows and the sense of separation between one environment and the next become more pronounced; doors that are more anonymous but also more abstract, in hues of brown that only in appearance seem easier to pass.

Doors and Windows, common objects of everyday life from times immemorial, in the framework of this exposition are translated as a symbolical demarcation line between the interior and the exterior, as a barrier bet ween one environment  and another, almost as if to separate the “I” from the world, the being and its self; these are a basic premise for Muti, a microcosm from which an interminable series of fantasies about the known and the unknown unwind; an alternating between see and know, hear and remember, between emotions and joys of the past and the present, they are most of all a confrontation with an unforeseen psychological situation using thought to “go” beyond. And then our eyes wander from the vivacious, decisive hues to observe the essential lines for a construction of space that is airless and scalding, so blinding as to be perceived  as unreal; they are the Shuttered Windows. Muti interprets this subject in a varied way and with various hues, they are shutters that although they present one single lateral  shadow, considerably expand the impossibility to see beyond, even though they have pleasant colors like red they express with force the division of the environments and thus the painter determines a gradual increase in emotional tension that unleashes the imagination and deepens the reflection. His is an enigmatic and ironic invitation so much so that some images of shutters can be mistaken for those of the doors, almost as if some sort of mutation between one object and the other were in progress. In one of them appears a completely illusional tense blue sky far from being reflected in the large lateral glass, glass that is not transparent and seems solid like construction material.

 

Luigina Rossi  2004

 

 

 

Alla Galleria Anselmi l’Assessorato alla cultura della Provincia ha promosso la personale di Evandro Muti, artista viterbese che esporrà fino al 31 gennaio.

E’ sempre difficile cercare di capire e di spiegare l’astratto. Si è portati  ad una certa diffidenza soprattutto se l’astrattista non è un ricercatore che attraversa l’astrattismo come percorso di esperienza evolutiva rappresentandone la parte finale o il mezzo di raggiungere altre mete artistiche.

Questo è il caso del maestro Muti, che nella sua maturità arriva a produrre una sorte di grafica fatta di libere geometrie che armoniosamente si dispongono su fondi acrilici variegati come  fossero grandi squame di fantasiosi pesci o rettili, lembi di pelle al microscopio.

Muti giunge a questa espressione passando attraverso esperienze recenti sulle geometrie policrome di linee usate come pentagrammi con su “scritte” note fatte di segni elementari e cerchi colorati.

È passato attraverso la pittura figurativa con la quale sembra avere studiato i modi di comporre le forme tipiche delle architetture.

A mano a mano si distacca da queste forme assimilabili alla realtà per approdare ad un astrattismo monocromo, ordinato e ritmato.

La raggiunta padronanza di questa espressione lo porta alla ripetizione delle ritmature rinchiudendole in una forma precisa e squadrata.

Una sorta di cornice di finestra decorata è appunto l’ultima opera della mostra che si presenta investita da una luce che produce tenui ombre.

La finestra si affaccia su un cielo sereno, infinito, pervaso d’aria e di luce: immagine metafisica emblematica di una ricerca prima informale ma infine mirata  ad una realtà appartenente al mondo esterno, eterno ma comunque pervaso di ottimismo.

 

Giorgio Pulselli  (Il Messaggero)  2003

 

 

Da sabato prossimo, e fino al 31 gennaio, alla sala Anselmi di Via Saffi sono esposte le opere di Evandro Muti,  pittore viterbese, legato all’astrattismo.

“Sospensioni geometriche”, è questo il nome della mostra, è organizzata dallo Studio d’arte della Tuscia, ed è curata dal critico Donatella Valori.

Nelle opere – acrilici su tela, carta e cartoncino – sono protagonisti la luce, il colore, il segno, in un approccio personale, caldo e partecipato.

La stessa Valori ha scritto: “Evandro ha sempre avuto una concezione spazio-tempo quasi rinascimentale, le forme sono sospese in una curva temporale dove l’uomo non è protagonista, ma si nasconde tra le immagini geometriche reinventate e perfette”.

 

Corriere di Viterbo, 16/01/2003

 

 

 

Nei quadri di Muti, acrilici su tela, carta e cartoncino, i protagonisti sono la luce, il colore il segno, il tutto in un approccio personalissimo con l’arte che rende la sua pittura del tutto ottimista.

Una luce che esprime forza positiva e che sa rendere brillante e stimolante anche la misteriosa profondità del nero.

 

Il Messaggero, 16/01/2003

 

 

 

As an entomologist recognizes insects or an exorcist the devil, so we recognize the true painters, for the habit we have to meet always them.

So we have recognized Evandro Muti, the artist with a pedigree, pleasant surprise in a not always stimulating parterre, where the true painters are rare swimmers in a very immense sea.

We have to go deeply in Evandro’s paintings, like Mary Poppins did, because they are paintings where we must enter, enter and go out of them, and them re-enter and go out again because he shows incomes and dark galleries from which the light explodes outside into fragments and spares like from an atomic central or a cathode tube, like from a tunnel coming out from the centre of the earth. Evandro interiorises the light, then he digests it and later he spits it out as country fireworks or the city lights in black-out suddenly relighting. Evandro’s paint is nervous but it is reassuring at the same time because it is a pure painting with no dross, so that you can frame it and define it in time and space. From his first figurative geometric experiences as of metaphysic architectures, willingly compressed in only two dimensions when the post-pop exploded, Evandro paints not with the fourth dimension but, using Bergson’s words, “the fourth sensation”.

 

Donatella Valori (Galleria Tuscia) 2001

 

 

 

You are visual operators, dedicated to the comunication towrds  the biggest number: you can fragment your speech till the singularity of a certain moment and of a certain space.

But this work of art has no value besides the organic insertion in your vision, in your speech: your environment structures take their roots from the deepest places of modern life, in men’s objective mind, contradictory but responsible of today.

 

Paolo Romano (Il Tempo), Viterbo 1977

 

 

 

A coerent and clear sign shows the artist’s creative fantasy. Collage, graphic art and painting are the expressions of  his art exhibition rich of known interests. A deep research in a world that makes part of culture and that belongs to the contemporary society.

The tonal research in the painting, the sequence in the graphic art, the vital meetings in the collage are the peculiar attractives  of  his art exibition that Muti has composed with accents that have roots in the magic of the colour and of the composition.

 

Giovanni Semerano  (Il Messaggero), Viterbo 1977

 

 

 

I have followed Evandro Muti’s work for years.

He is young and in love with painting and graphic arts.

As culture, he comes from the University of Architecture. He is a pure graphic artist; looking at his drawings you immediately think about the patient and sure work of a spider with its cobweb, and the lines of is compositions go towards infinite horizons.

F.L.Lemaire, abready in 1957, has drawn geometric circles that we could link with Muti’s technique, like a game with spiral lines of an enormous elegance, but Muti is different from Lemaire for that sensation of unlimited space created by free lines in their jump instead of being closed in a circle. In 1949 Gabo drew incredible signs, they were magic, but closed in a form in the space too. We find  the same situation in M.C.Escher, who is, in my opinion, the nearest to E.Muti.

Muti has draun his coloured history, beginning with distemper since 1969, and bringing forward with methodic decision, good for his mental structure first of all as craftsman building the necessary spaces so that the light-colour to put on the cartoons doesn’t disperse outside his incredible dowels in a so wonderful accord. Vasarely tries to amaze with cerebralism, Muti tries to make you love his musicalism poetically chromatic…

 

SIRO (Umberto Spironello), Roma 1977

 

 

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