NOTAS CRÍTICAS
Principal Arriba NOTAS CRÍTICAS SOPORTES

 

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1.- IVÁN ÁVILA BELLOSO, diario "El Venezolano" Miami, 01 Junio de 2001

"Cuando el filósofo griego Pitágoras elaboró su famoso teorema matemático, cuya vigencia perdura hasta nuestros días, jamás pensó que algún pintor nacido en Nápoles y residenciado en Venezuela, lo aplicaría a la pintura, y mucho menos, cuando a su vez, sus obras plásticas tendrían un sentido de crítica social y política.

Efectivamente Vincenzo Castaldo vino a Miami invitado por la Power Internacional Art Gallery para exhibir su nutrida y variada muestra pictórica. Muestra que evidencia su trabajo serio y científico, pues a pesar que es ingeniero civil, no olvida los conocimientos aprendidos en su carrera, e intenta aplicarlos a su vocación de artista plástico, cuya inquietud se inicia cuando apenas contaba con 8 años de edad…

Nunca en Castaldo ha existido una discontinuidad o ruptura entre la ciencia y la pintura, ya que él integra ambos aspectos en uno solo. Y a pesar de que confiesa que las ingenierías son carreras secas y abstractas, les encuentra un sentido estético y moral. En efecto, este pintor italo-venezolano es profundamente humano y posee una fina sensibilidad por los procesos del hombre y de las sociedades…

2.- Dr. Milagros Bello, Miami based art critic, Miami, November 2003

CASTALDO: HUMAN INTERTEXTUALITIES

Vincenzo Castaldo proposes a bi-dimensional work that critically points out social, political, religious and cultural facts. In some of the works he uses the technique of collage and creates a mixture of typographic news 'paper cuts' that refers to a specific theme, usually related to Venezuela and Latin American environments. The result is a visual and metaphoric intercrossing, - a puzzle of great social paradigms. Poverty, war, industrialization and underdeveloped countries; nature and environment; guerrilla and Latin American politics, are the main streams on Castaldo's intertextual creation.

The Series Teorema de Pitagoras (Pythagoras Theorem) exemplifies the artist's conscious and political mind towards the contemporary world. He is deeply concerned with the critical events happening nowadays and he uses the Pythagorean theorem to assemble the compositional and visual axes of his work. In Teorema de Pitagoras. Carta sin Respuesta, 2000 he proposes in a square- over-square juxtaposed composition, various critical news: Colombian guerilla continues to fight over the Venezuelan borders, the economic disadvantages between countries increases, Venezuelan economy is falling down in the international market, etc. They represent linguistic and semi logical signs of the critical contemporary world are Castaldo's main ideological parameters as a Latin American and a Venezuelan artist. It is important that a creator assumes a political statement in a world under "fire" and full of injustices.

But Castaldo goes further in his artistic research and opens a new cycle in three-dimensional work where his narrative turns inward and become less apocalyptic. Castaldo's sculpture proposes other concepts: love, human unity, family love and the human life span. These new approaches to art conform an optimistic platform. These works are full of sensuality and beauty. Delicate curves and sensuous abstract bodies represent the love of a couple (The Kiss) or a family reunited (Sources of Life). The bronzes have subtle and brilliant surfaces that enhance the mystic sense of the figures. They please the eye and warm the spirit.

Castaldo is an engineer who came into art with a high sense of his mission both as a human being and as an artist. He has inscribed in his art the two poles of civilization. Evil and good are contra posed in his body of work reminding us of our destructive or constructive capacity of building up our present and our future on Earth.

3.- ANNA MARIA TIZIANO, diario "LA VOCE D’ITALIA", Caracas, martes 16 enero de 2001

In dodici importanti opere Castaldo esprime il suo modo di essere, di percepire la libertà attraverso l’arte, collocando l’uomo al centro dell’Universo. Si riferisce all’"uomo universale", di qualsiasi razza, sesso o nazionalità; affronta i problemi esistenziali, le ipocrisie sociali, i valori e gli antivalori che dominano la società contemporanea, giungendo alla triste conclusione che probabilmente il cammino dell’essere umano attuale non procede verso un mondo migliore bensì ne è agli antipodi. Per questo nella sua opera "MARE INQUINATUM, August 18, 2125" captiamo un presagio di distruzione: l’uomo che continua imperterrito a contaminare il pianeta Terra e ad insanguinare, magari nel futuro, in complicità con la tecnologia, altri pianeti....

La sua denuncia esente da qualsiasi corrente politica od economica, non vuol ferire nessuno: la sua denuncia è soltanto alla ricerca della "verità": "DENUNCISMO MATEMATICO", così lo denomina l’artista e sa esprimerlo in una serie intitolata "Teorema di Pitagora"...