Paolo Fedeli - Times Square

PAOLO FEDELI was born in Tuscany in 1957. He attended the Art Institute of Siena, earning a diploma as Maestro 'Arte. He has staged numerous solo exhibitions in Italy and abroad. Among others, Ukraine, France, Russia, Spain, Rome and many others. He is represented in several permanent exhibitions. His works are in many public and private collections. His activity has been reviewed in national and international magazines and newspapers. He has participated in the major national art reviews, obtaining important citations and critical recognitions. From 1979 to today he has won no less than one hundred seventy-six First Prizes in painting competitions. Paolo Fedeli is an arcane cantor of nature.

THEY SAY OF HIM:

Paolo Fedeli is a painter of absolute elegance. A narrator of improbable and unknowable events, of questions without answers.
His wandering between Tuscany and the anonymous metropolis of a contemporary Western world, where all architectural panoramas resemble one another in the absurdity of globalization, may strike us as surprising. So too the changing of his language. Yet we see a subtle connection between the farmhouses, the hills, the clear skies, the nocturnal lights, the glossy streets damp with humidity, the dusky atmospheres of smog: there are never living beings, as if people, daily life, work, love, hatred, competition, wakefulness, sleep have eluded the artist’s imagination, who has chosen to exclude from his poetics any reference to the social or, to put it more precisely, to verismo. Probably the French poet Paul Verlaine would have agreed with him, maintaining due distance between words and colors:
It is necessary then that you do not choose
your words without some error:
nothing is dearer than the gray song
in which the uncertain unites with the precise.
Go as far as possible from the murderous wit
from the cruel spirit and from the impure laughter;
that make the eyes of the azure weep!
Take eloquence and twist its neck!
Here, then, is Paolo Fedeli’s key to reading: self-referentiality and the surprising, he has replaced with the vagueness of the uncertain. The rhetoric of the everyday and the clamor of dissonant voices, he has replaced with the suspended silence of absence. The depiction of the recognizable has been replaced with the sublimation of visual poetry.

Paolo Levi