“What would life be like if we didn’t have the courage to try something?”
(Vincent van Gogh)
The key to my artistic breakthrough is most likely to be found in a set of rediscovered values: the awareness of fully living the familiar passion for art, the determination to pursue one’s goals and the courage to experiment with new techniques and materials to create one’s own contemporaneity, in a process that has its emotions expressed through the pictorial act.
INTRODUCTION BY FRANCO CIPRIANO
Enzo Cino’s artist experience relates to the singular and ‘necessary’ dimension of art.
CRITICAL ESSAY BY ANGELICA FALCONE
The artistic research of Vincenzo Cino, a painter who works between Naples and the Vesuvian area, comes with this exhibition to a change of direction, a “Turn”, in fact, born from the need for a stylistic transformation, a natural personal and professional evolution.
From the lyrical realism of his father’s inspiration, Cino initially develops an interest for the landscape and the land to which he belongs, arriving, however, in the years of maturity to a pictorial art that has nothing to do with the clarity of the figuration, nor does propose itself to represent on the canvas a reality that does not reflect his inner world.
The works on display are therefore the result of a revelation, an epiphany that has come to the end of a long and painful process of research and intimate analysis of the self: his works are real spiritual compositions that find points of reference in the currents of Abstractionism lyric and informal art.
The human figure and the landscape disappear and an idiosyncrasy towards every kind of form appears in its traditionally recognized and accepted definition.
In addition to the denial of a rational knowledge of reality, Cino preserves the instantaneity of the pictorial gesture of Informal art, the aim of which is to preserve the authenticity of inspiration and production.
There is no longer a protagonist of the work; on the contrary, the way in which the color spread on the canvas is perceived by the observer, builds the real subject, which is always an emotional subject. We are therefore faced with a participatory creation of the work of art starting from its compositional elements: color and matter.
The chromatic range is assorted and colorful: in most cases the artist prefers brighter, sanguine shades spread on canvas, jute, wood and cardboard with generous and impulsive brushstrokes, without excluding, at times, the ethereal and luminous ones. More frequently – not surprisingly – the shades of blue and red recur, to underline, perhaps unconsciously, the deep bond with one’s roots: the depths of the sea and the threatening power of Vesuvius.
The combination of non-shapes and colors is closely connected with the spiritual element in the artist, who makes Kandinsky’s lesson his own, seeking the direct expression of individual emotion. “Composition is more and more a force rather than the result of thoughts,” he says.
If art is therefore a revelation of the human soul, it will necessarily be constituted by the dialectical unity of opposites: sometimes aggressive and violent, sometimes poetic and sentimental.
The art of Vincenzo Cino encourages poetic wandering, the escape of the flaneur who, oppressed by the weight of reality, seeks refuge in an imaginative elsewhere made of contemplation of beauty, of expressive freedom, of clear and courageous manifestation of his own strength, as much as of his own fragility.
CRITICAL ESSAY BY LEONARDA ZAPPULLA
Vincenzo Cino was born in Portici. His father, also a painter, infuses in him a passion for art.
If for his father, a painter with a classicist matrix, the precision of the figuration was the cornerstone of his profession, on the contrary, for Vincenzo, the composition is the result of an inner drive. To put it in his words “the serenity, the spontaneity, the speed of the brush strokes, the arrangement of the spots and the choice of colors are nothing but a tool, the connection between the soul and the canvas”. The artist’s pictorial research is based on abstraction and fully respects the creative emotion.
The skilful union of form and color transmits a harmonic construct with strong poetic potential, a gestural language that evokes in some canvases a reminiscence of realistic spatiality and in others a very fine lyricism, free from any academic or formal constraint. Vincenzo Cino’s compositions are offered to the viewer as refined chromatic symphonies full of contrasts, capable of capturing the attention and carrying the observers to landscapes that can only be felt by the imagination, clear and honest emotional landscapes.
Arch. Fabrizia Cino
HWCD – Senior Interior Designer – London
“Vincenzo Cino’s works are a mixture of intuition and expression, with unpredictable colors, geometries and shapes. An awakening, an awareness of the strength of shapes and brushstrokes. The large scale of his works expresses those emotions that have no place in verbal language. The vivid and skilfully combined colors, together with the softness of the features invade the environment, making every single work the absolute protagonist of the space.”