HARLEQUIN - BRUNO DA TODI

Bruno Spita presents two recurring themes in his works: flowers and hanging clothes (and more
that the clothes are rags).
It is easy to identify the fundamental relationship through these two reasons
with nature and with the life of other men, while keeping in mind that the painter
rightly rejects the labels of figurativism and abstraction; established such a global
relationship there is no need to vary the themes, which become more and more in-depth from
chromatic and compositional point of view.
The first painting with the clothes hanging out dates back to 1964, but we have to wait until 1970 because
this theme is carried out continuously and is implemented in an increasingly complex way,
even taking up, in his latest works, the medieval polyptych structure, for
to better organize the times of human existence according to the leitmotif of fatigue
daily.
At this point the Umbrian origin of the painter could be called into question for the climate
of his works, which brings us back to the sources of a certain lyrical, literary and
pictorial art of the Umbrian Middle Ages and above all it comes naturally to associate these
historical-geographical components the name of Burri, not only for the technical reason of the
burns and material compositions, rags, sands, plastics, but above all
for the emotional charge that comes to us from these works, which the painter calls
conversations, probably because he wants to involve the user in the most direct way
viewer, but which in reality are lucid and passionate demonstrations on our
way of being in the world. And this way of being, through the inner strength of which
the painter arranges, does not neglect the motif of hope.
In fact, if we look at one of his paintings we see a hanging suit: the flow of time,
past-present, is given to us by the sight of these worn and threadbare clothes, which have been
the man is dressed, but above there is a yellow sun, the future, an act of faith in life.
That is, the limit of the existential hic et nunc is surpassed and the decadent tone is avoided until
to the complacency that undermines much of one-way experimentalism.
In flowers the chromatic shades are exciting and can be traced in their
lyrical ignitions a long journey of modern painting, which obviously starts
from impressionism and passes through that current that could be defined as realism
naturalistic, and this is always said without underlining the terms realism and
abstraction, but to insist again through this second recurring motif on the
lucid passion, which substantiates Bruno Spita's pictorial experience and makes it
testimony of great human breath.

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