M A R I O    P I S C H E D D A

 

 

 

Art In Movement-Ziqqurat Art Magazine-Vincenzo Sparagna

Mario Pischedda is a "modern artist, meaning that his anxiety brings him, as a nomad of forms, words and ideas, from one genre to the other. He goes from critical enlightment to the photo/optic shot- he likes to define his pictures "shot at impression"- born from the instinctive gesture of the primitive mind that only looks without knowing.

Mario suffers and practices consciously in his works and performances the fascination for the "unseen" provocative elements of any experiment, of any sarcastic joke, of quoting others as a replication of the past that anyway could not but change and rejuvenate the original.

For Mario the artist should deny himself in order to exist, and must melt with the art's user. The artist should be able to cancel his self, and prepare just the setting in which the user plays the main role.

It is not by chance that our artist not only signs as Pixel, but often as MarioPischeddaInMovement. He does not in fact aim for a final goal or a defined target, he simply moves. He tries and retries his variations in the self portraits, as a continuous discovery of his own face as face and object at the same time. He plays with the copyright issues and the unique quality of such "art work", and plays with it as a one-time shot.

He mixes two-dimensional and three-dimensional (as the celebrated "two balls" with two ping-pong balls glued to a white sheet) in his personal unfinished escape, where the artist is the escapee and the critic, where the rules of the academy track down his movements in order to bring him back to his cell.

Pischedda wants to avoid capture, he wants to shock and surprise, violate fashion, isolate himself from the banal noises of time.

It is a tough journey because it is done sincerely, and the author is his first critic and spectator. Pischedda is forced to shock himself first, as a chess player that playing against himself can not cheat.

Kinobalanos (another name of our artist) comes from a long way. He trained himself in the melting pot of the daring ideals and forms of the sixties. His sense of the present is as strong as his sense of history and memory.

Seeing now his first works -studies of the contorted and monstrous shapes of cork trees in Gallura, or the series of the warehouse workers at the blast furnace, or again faces of kids, old men, women and animals of his own country-it all seems like the beginning of an archivist work, an investigation to classify light and darkness, shades, shapes, details of reality.

He looks for the deepest roots of his subjects- as in the collections of the cork trees- in order to feel free then to explore the gratuitous, the childish and the surreal.

It is because of his journey that we can expect from MarioPischeddaInMovement more surprising photo-graphical works and inventions, as they grow in him and blossom naturally like new green twigs on a secular holm oak.