Giuseppe Corazzina: An Introduction by The Mayor and Cultural Liaison of Padua, Italy.
Giuseppe Corazzina has been awaiting the opening of his solo exhibition at the “Scuderie” of the Municipal Palace for some time now, as it is the most prestigious exposition area in Padua. Corazzina, a Professor at the Istituto D’Arte Pietro Selvatico and at the Artistic Lyceum of Padua for many years, and now retired, found the courage to leave Italy and move to Orlando Florida, partly to expand his professional experience, but also in search of new and diverse opportunities for his work. With patience he asserted himself in his new world and now wishes to share his accomplishments with old colleagues, students and friends of his native city. With his new exhibition, he is re-affirming the successful accomplishments he had already achieved before leaving Italy and that were featured (acclaimed) in many newspaper and art magazine articles written by our most qualified art critics.
Corazzina’s moment to shine has come once again and he is supported by local organizations in Orlando, Florida and here in Padua. The works in this exhibition feature his highly artistic painterly qualities by depicting his atmospheric interpretation of Dante’s Inferno with the tragic force of his saturated reds molded to interpret the urgency of life, and the full, round sentimental adherence rich in modulations, secret and fascinating folds and chromatic depths; painterly painting, rich in color references, in visual and narrative illusion, in vivacious and captivating climates that will satisfy even the most exacting art enthusiast of our city, renewing old ties with our artistic paduan tradition. The style and the narrative are now more refined, and with increasingly courageous and expressive approaches, imbued with emotional, sentimental, aesthetic and cultural memories; therefore, it will be an exciting surprise to meet him again and rediscover his intimate, dantescque world, but most of all his relevant journey from pictorial materialism to spirituality, emblematic of an intense sensitivity which transcends strong chromatic fields to encounter the depth of the individual and collective soul.
Giorgio Segato: Giuseppe Corazzina
Through Elusive and Illusive atmospheres
We have know each other for more than thirty years and, I believe, I was one of the first, if not the first of the reviewers of his work in ART 2000, because it attracted me with the forcefulness of its saturated color, with the decisive saber-cut stokes that accompanied it, or better crossed it, in an harmonious way breaking its compactness and creating areas of stellar fragments, rich in evocative suggestions and illusions; apparitions of highly symbolic forms soliciting the imagination, visual translations connected to oneiric emergences or even to compositions inspired by a sense of incredibly perfect musical rhythm.
All this enters into the pictorial tension of Corazzina and it combines itself with color in joyous and vital hues which elicit feelings of continuous fermentation as in Creazione della terra, of metamorphosis as in Sogno arancione, of fibrillation of the material, of trans-morphing of and into nature, into human nature or the psyche, its most profound values, potentials and aspirations.
In Giuseppe Corazzina’s paintings color must be and is a flow of absorbing and enveloping atmospheres, a constant research of atmosphere and meaning, of power of suggestion, of magical illusions and references into the real and psychological world, into the virtual and imaginary, into the reacquired memory and the fantastic.
Corazzina’s secret is his capability of creating penetrating and penetrative chromatic fields of strongly and convincing perceptive attractors that reverberate and resonate through the visual and continuously grow richer in the deep well of the psyche: disquieting dreams, emotions, memories, hopes, far and near sensations, synesthesiae connected to sounds, to landscape visions, to mysterious figures, to movements of the soul. His paintings truly recall an informal expressionism rich in apparitions, in ghostly surfaces and depths; moments and figures are sought after or spontaneously emerge as effects of a complete liberation from the pictorial act, which at times conquers, with colors and gestures the lyrical modulations of spatial landscape and, at other times, the tensions that profoundly stir in the deep recesses of the soul.
The play of fragments on the large chromatic fields of the canvass lightens the work, reinterpreting it poetically: constructed rather than pictorial, in the real sense of the word. Therefore, the spaces remain airy and profound, rich forms in virtual movement, as an expansive kaleidoscope that shifts and reshapes itself, bearing witness to the extraordinary richness of our inward gaze, of our inventiveness, to the potential of our emotional and spiritual journeys that constantly intertwine, communicate and contaminate each other to give meaning (subject, memory, originality and direction) to our lives, thoughts and behaviors.
And the fields remain expansive and airy, void of dramatic nodes, agglomerates of grief, but captured in their full brightness (La cima rossa, Aquila, Cleavage, The White Bird, Return of Birds, Fire Birds, Alba del 13 aprile, Red Kite Hill, Imaginary Cruise).
The artist’s choice of acrylics on canvass, the frequent, attentive but always measured and elegant play of fragments (long and wide fields almost as light wounds of explored spaces) promote in him, as well as in the viewer, the need for even more homogeneous spheres: more compact, dry, and towards less humoral (aqueous) atmospheres, less humid with chromatic paste; so that the recall is made less sensual, less superficial, but more mental and intellectual, more precious and refined; it is a relaxed and harmonious distribution of the elements that speak to us and make us well aware of the explicit will of the artist to provoke and promote a new and personal expressive and communicative order and, together, a new expressive context of creative freedom, of imagination, dream and emerging spaces, that breath by contracting and expanding in full allusive and representational freedom; of metamorphic action that enriches our relationship with external and internal realities.
In this very representational ability, action and ambivalence (positive ambiguity) lives the painting of Giuseppe Corazzina; exalting all of his narrative force and his existential nostalgia with carefully placed color, wisely amalgamated in hues that trace, for those who want to see, a long and wide journey of refinement, of meditation and reflection. He seems to connect the airiness of oriental poetics, which aims to purify the experiential matter to the pregnant sensitivity of the west, which still places the “matter” at the center of its own perception of life and communication.
2009 Seminole Community College, Sanford, FL
2010 “Under the same sky” Mount Dora Center for the Arts, FL
2013 “Angels and Demons” AOD, New Smyrna Beach, FL
While creating this last artistic collection, I was intrigued to face a fascinating, and mysterious theme, which involved entering a world of emotions and sensations.
I asked myself this question about Angels and Demons: Who are they, and what do they symbolize?
Most people could agree that they are an icon of good and evil. Each of us can differentiate both subjectively, looking deep inside our heart, soul, and mind, while symbolize them with forms and colors.
Immersed in these thoughts, I visualized Angels and Demons with energetic color, strong contrasting, and harmonious lines.
During this process, I discovered inside myself the presence of lots of Angels, but also more than just a few Demons.