Thirtyfirst episode of the program “Pralines. Deliciousness from the world of art” by Ly thi Thanh Thao and Sergio Mandelli dedicated to Tommaso Cascella.

Tommaso Cascella is born in 1951 in Rome.
His mother, Annamaria Cesarini Sforza, is a painter; his father, Pietro Cascella is acclaimed as one of the most influential 20th century sculptors.
His home, therefore, is frequented by celebrities of the then dominant cultural mainstreams that have instilled in him a love for aesthetic taste since his tender age.
Together with his wife Emma Politi, he edits “Cervo Volante”, a magazine of art and literature, curated by Achille Bonito Oliva and Edoardo Sanguineti.
In 1983, his magazine ceases its publication with a number dedicated to the New Roman School, which was founded at the former pasta factory Cerere, in via degli Ausoni.
This is arguably the turning point in his career: he decides to engage himself in artistic creation.
Taking inspiration from the manifesto of Balla and Depero on “The futurist reconstruction of the universe”, Tommaso Cascella delves deep into the idea that art should be concrete, should be embodied in daily life.
In addition to paintings, he realizes sculptures as well as objects of daily use such as chairs, beds, and ceramics.
His artistic patterns beautifully fit into a wide range of mosaics and of carpets.
In the meanwhile the ideas on how to carve out his personal style are getting clearer and clearer.
For example, visiting the Etruscan museums, Tommaso Cascella notices that some artifacts (the Liver of Piacenza) have a modern aspect, and that an ancient painting can convey as many emotions as its contemporary counterpart.
Tommaso Cascella understands that man is always the same; man can improve his technique, but his fundamental characteristics remain unchanged over the millennia.
All art, therefore, is contemporary!
Through the contemplation of beauty, man searches to reach a timeless dimension, that involves all the universe.
With this thought in mind, the artist considers his artworks to be fragments of an immense painting, portions of an infinite landscape that extends itself towards the four cardinal points.
In the end, Tommaso Cascella wants to voice his belief that the artist should assume the role of a shaman: through beauty, he can erase the horrors, the egoism, the absurd massacre from this world.
Art, in fact, accompanies us to the dimension of peace and of wellbeing.

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