F. Scisciola - Cement and papier-mâché

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism. This landscape by Scisciola carries a strong sense of social commentary in its merciless comparison of concrete buildings and cardboard shacks.

This painting is a perfect example of Scisciola's landscape production. He essentially bases his work on two elements: form and color. For this reason, he almost breaks down the elements of the urban landscape, seeking to transfigure his perception of tangible reality into a synthesis of pure forms. His works, therefore, are characterized by perfectly balanced compositions of squares that display the shapes of objects in a complex, non-unique space. Throughout, there is a thorough investigation of the reality depicted, which draws particular attention to Paul Cézanne. However, unlike the French master, who favored earthy tones, the second defining characteristic of Scisciola's style—color—comes into play. His works are distinguished by their brilliant polychromy, whereby each shape constructed on the surface of the work takes on a vibrant, luminous hue. In this painting, the entire surface is unified by a predominant shade of green.

The artist Scisciola, as we can see from an analysis of this work, stands out for his interest in urban realities, which he depicts in his works, also with clear intentions of social commentary. This does not prevent him from developing an original pictorial style, which combines the expressive potential of color with a geometric exaltation of form.

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