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From the shadow, like apparitions from a dream, or from the magma of a crater desire these figures or the figurations of Paolo Damiani come against us or they just move away in a room of darkness and smoke without horizons.
His world lives this secret obsession, the agony of a reality that is no longer able to form again itself in its total size: bodies and faces, like graffiti on the walls of a rock or scratched on the ground and in the sand and over more persistent rain and wind, so that they look like old and fled, enigmatic in their presence, immutable witnesses of a sad fate of solitude.
Distorted figures in this constrained space, that marks the impossible meeting, hallucinated wounds where the wound is a flash of light, which attacks a sign and a sign is cause for conversion of the particular anatomical part to a landscape element, and earth and sand and dune and slate with the internal tracks and the mystery of this desire of us.
With rare essentiality Paolo Damiani believes these fantasies on the border of expression as balanced on a precipice, where they can soon return. In this challenge, he believes, to give his movement the strength to overcome barriers of art in order to find a human search for truth beyond the representations of the aesthetics, of the myths, of the solid traditions, of the convention.
His painting is a persistent and significant resistance to the reality; expected and now faked, in the name of this temptation, which is unspoken desire, threat and obsession, but threat and obsession are made and provoked by ourselves.
From our fear, to cross the threshold of what is known and to observe highly everything is extreme.
Extreme such as this fever of the senses, that feeds these figures are made of earth and star dust, and such as this desire which destroys and deforms the lines of a body until it is the heart-rending picture of our extreme anguish.
Evoked in their original size, the protagonists of the Damiani's painting, on the threshold of a dream, become witnesses of this tension in order to identify themselves in such absolute and unchanging nature of man.
The more valid and useful, the more woundfull and deformed by the suffering and the weariness, the more marked from the pain and the mystery: phenomena in which the riddle of the Sphinx and the Greek tragic mask re-find a new, more decisive and immediate symbol for what is left to the human conflict and the hope.
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