Critiche

Criticisms

Antonio Oberti

From forms and colors associated with the external representation of things to grottoes, with infinite opportunities for inventiveness, from poetic atmospheres that are purely of the landscape in nature to almost surreal contents and to voluptuous transfigurations of reality. Here then is Rocco Basciano who goes down into the subsoil, exploring marine caverns under the pulsation of a different, richer emotive instance. Here there is born the splendour of a painting swathed in an atmosphere thet is thick with pathos, with fantastic figurations of an unpublished reality, new and primordial, from he who has conquered it, inveigled and stimulated towards the investigation and discovery of a secret world for himself and others. Instinctively, his color, developed in the lap of nature, has made its way through stalactites and stalagmites, through undefined reflex and mystic ancestral luminosity, giving life to a communicative message that suitably expresses his revolt against technicalism and morbid passions. It represents, this, inner agreements, emanations from an artist whose colors explode in luminosity, in gamuts that are alchemistically unreal and magical.
Committed to plastic models that are greatly formal and chromatic, he certanly does not wish to release his hold on reality, his inspirer. To the contrary, he exalts it with an equilibrium of rhythmic modulations and sudden gleams of light that push themselves out at the spectator.
So that space becomes a moment of contemplation and life and, in certain respects, an ideal perspectiv, which might be that of he who first discovered that mysterious, changeable universe.
The rhythm and rapport of colors and dimensions reveals, certainly, Rocco Basciano's desire for results that are not approximatory and that desire not to abandon comprehensibility in representing things. It is his strength and his commitment, so that imagination always seeks to form something impassioned and spontaneous, suitable for symbolising his long experience as a painter.

Walter Venanzio

Knowed to have painted the striking and characteristic Italy's sea grottos. Every grotto is represented with the colours and thicknesses of the place.
All this has contributed to give prominence to his art, so balanced, intense, placed in relief for the particular ones adopted techniques. Nearly a construction, where, sand, glue, chalks and colors are melted, in an high-quality representation.The artist have known with the time to modify its art, passing from the painting to oil to that one of watercolor.
This expressive change has deeply weighed upon the life of the artist. Some courses with valid teachers, the knowledge, have contributed to give wide I breathe to the works of the Basciano, to the point to induce him to test new aesthetic precautions.
Remarkable works, where he is able to create maximum light zones and delicate shades. Where the technique of the transparent painting uses, the paintings are distinguished from the others for the amount of used colours and the quality of the aesthetic results.
There is immediacy and spontaneity in a few works of the Basciano, the everything represented by an extraordinary respect of suffused and delicate atmospheres. We notice in the landscapes, steps and passages of lights and shades, the accomplished drawing and colour sense.
All this is Rocco Basciano, eclectic painter of the vision which preserves the spontaneity and the love for the painting of the great teachers of the past.

Lia Ciatti

The colours which rule in the Rocco Basciano pictures are strong, for answering his personality, what he looks to become gentleman of the nature which recreates under his brush; colours hot, quivering and given with a harmony that start to become a more perfect global tonality.

Marcio Mancigotti

...And here to appear, to the magical touch of ignoto director, smooth unreal scenes of porous and levigate stalagmites and stalactites as innocent canes made of silver since the times of Arcane Gothic cathedrals made of crystals, born in the heart of the earth in the dawn of the times. Seems to pass in review the striking grottos of Postumia or the being white labyrinths quickly from the crystals Frasassi flashes, the Sea Nuoro Ox's grottos and the abyss of the Preta in the Veronese, the "Grotta Azzurra" of Capri and that Vulcanica of Portovenere; the salernitana grotto of Castelcivita and, above all reddish innocent or black ones of Castellana delle Murge, whats can have influenced more Basciano, Noepoli native (power) which have left for Milan years ago. The passion with which he da always chases his measureless ghosts is the propulsive spring which sustains him in facing the dangers which the in bad condition way is strewn of of the painting. And it is this genuine, exuberant I raise enthusiasm that makes winning these dumb Basciano dialogues with the rocky walls of his grottos.

Giuseppe Rossi

...A balanced mixture of the three principal pigments: green, orange and he violates, the laws of the shades give origin to the pertaining line. Breaking off completely from the influence of the new avantegarde levers, which try to flourish with false and overbearing ideologies, Basciano places all his strengths on a calm base, performing a wide turn of various well known cavities: from the romantic Grotta Azzurra which the harmonious colour of the sky of myriads of stars sweeps over sparkling, to shady ones of the Gargano, up to descend to the mythological grottos of the sirens, whose smooth walls are compared to the green gleaming of the sea fund. A wide compound scene composed of curious cues of ours subsoil, contributing to enrich the formation of the cultural assets.
A deserving piece of research, followed with big rush; not easy therefore, in the real appearance, impress on the cloths the nature and, the attention expexially conceived for the tenacious defence and nearly to the world of the ecology which the painter knows how to represent with the brush. To Basciano goes a more appropriate judgement and a praiseworthy place in breast to the contemporary art.

Maria Nigra

...In Milan, city which now resides in, Basciano preserves intact and throbbing the memory of his far earth, the ardour of sunny beaches, the light shivers on the sky and waves furniture...and rocks and grottos. Granitics and Scisti kind grounds, fractured strongly by heartquakes, penetrated by the sea, modelled in big variety of forms and ampleness, rich of concretions, blocks of matter on precious depths opened towards the infinite. It is the matter, the theme which becomes artist's pictorial message: an only investigation led scrupulously along all the coasts of the peninsula, a fusion of the fantastic one carried out with the real one so that the invisible one gleams in the visible one with a thread of mystery, a secret margin, in authentic harmony. From the dark fund of these luminescent grottos the mind opens to the hope, to the enchantmentchase of the quietness through a sour way of struggles and conflicts, of conditionings and disappointments, it lightens of blue. In the poetic Rocco Basciano expression the chromatism is a dominant note. The colour spreads in tone dosed hot and cold relationships, with the blue gods range, the lievity of the blue ones-green, the variety of the brown ones; he is in strongly expressive medleys or he springs with dared you touch to exalt the light and the forms and the shade, according to shots almost spectacular. They are works that say in evocative shape the artist genuine passion for the nature and the Life, the ability which has reached through long years of search, the way that still means to cover.

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