Monochrome and colourist vitalism

At times art is a portrait of ourselves, a game of elective aŸnities, remembering the title of a famous novel by Goethe, a fruit of necessary exorcism, the representa-tion of Mr. Hyde or of the other than lives in us, or a manifesto of aesthetic struggle, a cry against the vulgarity surrounding us. In short, it is a desire to perceive and ap-preciate beauty.e artist is also a sensorial diviner looking for water in the virtual desert. He forms a tribe with his usual appreciators, artists, collectors and gallery owners, sharing the anxiety of the uncertainty of the present, with the vain hope of creating or seeking to create the future, linking up with the underground tides of the present and the bravest, doubtless, constructing hypotheses.

Historically I agree with English subjective art criticism (¤omas de Quincey, Walter Pater, John Ruskin) although these people draw on the classics, and thanks to the latter created a criterion and a school. Before, there was the cold wise and erudite passion of a Winckelmann, an ideological supporter of the looters that among many places ¡lled the museums in Berlin. ¤e artist must be creative, and not speculative. e critic that writes this supports an art without frontiers, a social and aesthetically compromised art, a young art, with artists without great prominence. An art, in short, that de¡nes its own ideal of contemporaneity. It seeks pleasure in every work it achieves, without the extravagance of Huysmans' Des Esseintes, the protagonist of his novel À rebours (1894). Scuderi shows a reliable and contained character. I suppose he allows himself to be guided by his atticisms in transcenden-tal circumstances, succeeding in developing his work and also expressing it through small works.

It is a detail that I like to emphasize. In a rapid journey inside the artist's mind, one perceives the possibility of developing the playful activities from one's own seat, which increase one's cultural interest. It is not the same maturity as shown by adolescent love. In the impressive monumental patrimony of the island on which he lives, one can learn to appreciate painting through stained glass windows and retables, and music in the orchestral concerts at monumental theatres. As important as the learning period of art is this tiny sector of our existence called unproductive life (according to Barthes), which is what most pleases and from which the greatest pro¡t is drawn. is lat-est exhibition leads Scuderi, with his predilection for the philosophy of Heraclites, to continual changes that distinguish his stylistic hallmark and characterise the continual changes. In the retina of the public that loves novelties, the important thing is to follow the artist's DNA in all his expressive development, and succeeding in this is a step further towards being considered a maestro. is paradoxical relationship between present-day minimalist and re²exive art and the previous over²owing expressionism, which one appreciates in Scuderi's works, is not an absolute contradiction but a real representation of the paradigm of the present-day artistic panorama, which oscillates between di¶erent options.

Scuderi in these impressive monochrome canvases (Folds in Orange, Folds in Yellow or Marine Folds), or two-coloured ones (Golden Ultramarine Folds, White Folds, Silver Folds) shows impenetrable and ambiguous work that starts from basic elements. ¤ere is informal simplicity contrasting with the richness of the previous works. is work with diŸcult syntax beginning from the internally constructed collage. ¤ese are works that show that art can still act as a support for new proposals, with classical references to the history of painting and some "contemporary glances" at the excellent painting of Gary Stephan, one of the most sol expressions of New York art in the eighties and nineties, just to give one example. ey are works that possess a bright hardness that he mitigates with polysemy and beauty. In a rapid and brief reading of these works one identi¡es a series of factors attentive to the most recent coordinates of present-day art.

As a professional of the world of Art, Scuderi likes to experiment in his works, and to enrich his work. ¤e content and the sign of the expression are de¡ned by abstraction as communicative language with constant curiosity, as a transcendental instrument.

¤e works mentioned have in common participation with their ephemeral and commonly used materials (canvas, colour, wood) which are no less noble for this.

Painting is fragmented, already both formally (as in the last works of splashed ex-pressionist origin) or in the content (two-colour works). Fortunately, however, Scuderi's curiosity embraces a multiple horizon: from Minimalism to Expressionism, from American New Abstraction to Spanish Painting. ¤e complex equilibrium of values discovered and appreciated by the public constitutes the most boasted-of object of these works.


In preparazione....

Mostra Personale

" Palazzo Bellomo "

Ortigia (SR)

Mostra Personale

"Museo Etno Antropologico"

Castellamare del Golfo (TP)