Twentythird episode of the program “Pralines. Deliciousness from the world of art” by Ly thi Thanh Thao and Sergio Mandelli dedicated to Andrea Zucchi.
Andrea Zucchi is born in 1964 in Milan.
Although he studies philosophy and initially embarks on the literary road, he finally discovers that he has a strong passion for drawing and painting.
At the outset of his artistic career, he considers De Chirico and Bacon as his reference points, but he is also greatly attracted by the classics.
Andrea Zucchi moreover carries out an in-depth research of the classics of mysticism as synthesized in the famous book entitled “The Perennial Philosophy” by Aldous Huxley.
These initial influences permeate his first solo show that features artworks having influences mostly from the metaphysical school and from Realismo magico of the 1930s, artworks that would legitimately require a kind of psychoanalytic interpretation.
Successively, in a range of works titled “Neoplastic Contaminations”, it’s the idea of the screen that plays the major role. Sequences of rectangles and squares are cast on images mainly related to natural sceneries where man’s presence results totally meaningless.
The term Neoplastic refers to the 20th century art movement called “De Stijl”, also known as “Neoplasticism”. Its leading figures, namely Van Doesburg and Mondrian, advocate a reflection on the hidden order, on the rigor and on the harmony that reigns over the universe.
Afterwards, with another series called “Combinatoria”, Zucchi emphasizes the mysterious bond created by incorporating images from diverse conceptual worlds.
For example, in an artwork that recalls a painting of Peter Halley, Zucchi inserts the mask of Tutankhamun alongside two technicians dressed in anti radiation suits and an arctic landscape.
Andrea Zucchi, through these paintings, doesn’t aim at reaching any rational truth. He’d rather invite us to search for the affinities of forms and of colors that, to some extent, establish some link between the presented images.
The series entitled “Disorientation” signals a paramount turning point.
What renders these paintings memorable is their force, not only due to the evident contrast of the presented figures but also due to the use of colors and to the mastery of composition.
Then he paints the series called “Untimely appropriations”.
These artworks can be viewed as transpositions of photos of the past; in fact we can easily recognize Giuseppe Garibaldi and the view of Naples.
But at a certain point, the artist seems to suggest us to stop analyzing the painting, and to let ourselves be transported to a contemplative realm where everything can find its proper collocation.