|
|
VICTORIA
DRAGONE
Giovanni
Cavazzon - the sacred message behind art
Nude
bodies of women with their voluptuous beauty are what we find in
the works by Giovanni Cavazzon. There are images inspired by
mythology (Daphne and Aphrodite), and the modern woman with her
sinuous curves sensually posing and awaiting, lying languid and
dreaming on the reef or relaxing after having a bath on a silk
sheet folded around her seductive figure.
The painter takes
us beyond the esthetic impact. He tries to make his way into the
complexities of human nature, be they divine or mortal, spiritual
or material by playing with the contrast between light and
shade.
The traditional setting gives way to a sort of double
personality on an only level and contrasting a real, lively and
materially vigorous woman with a warm body pulsating from the
fluid harmony of her flesh and a woman who is diaphanous, static,
motionless, unreal, immaterial and as fleeting as a dream, as if
moulded in a rosy fog.
These parallel levels, where the
colour black is set against white or red, can be found in almost
all of the paintings: Sunflowers (Girasoli), Fence (Recinto), Wall
(Muro), The Pumpkin (La zucca), In the Vegetable Garden
(Nell’orto), Gate (Cancello), Nostalgia (Nostalgia) or in the
sketch entitled Hands (Mani). This is the artist’s way of
discovering once again that intimate link among things and to
unravel the hidden mystery behind appearances.
As a woman I
feel his art very close to the female soul, to the enigma of
femininity, which proves unpenetrable for many.
As you get
closer to the artist to get to know him better, his heart opens up
like the doors leading into his studio, one by one and in silence.
He turns into a father presenting his works with tacit pride as if
they were his children, and without taking any notice of the
enthusiasm in others. He awaits until your interest has been
quenched and then takes you into a different room where one’s
many questions elicit an infinity of interpretations in which the
accuracy of sketching meets the magic of colour.
And finally,
loaded with representations you think you have seen all there is
to see, and yet you hear a distant voice echoing that there still
is more, perhaps a secret of the soul, perhaps a surprise, but
only for those who have earned it. And suddenly your curiosity is
unleashed as you follow him in earnest wait.
In a rectangular
area there is a Last Supper (L’Ultima Cena) vertically
positioned. A blinding light streams across the painting embracing
you in a divine atmosphere which is out of the ordinary for a
moment making you forget what you have seen instances earlier.
Jesus, drenched in light, sits at the head of the table, his arms
are raised towards the sky to receive the flow of brilliant rays,
similar to lightning, which disperse over the small group. The
Apostles seem to be pressed by a weight, one gets the feeling they
want to flee from those golden arrows driving deep into their
conscience.
The artist’s face lights up when he says:
“There is nothing profane in my paintings, it is like a liturgy
in which I often hear the word virginity”.
|