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Reviews
| Strongly informed by
lively, colorful patterns and forms, painter Mauro Filigheddu speaks to a
variety of themes and ideas in his intriguing works. Intoxicated by the rich
diversities of human creativity and expression, he seeks to represent every
facet of his self in sumptuously vibrant paintings. Filigheddu’s works
sparkle with opulence and brilliance, his paint applied in thick, bravura
abstract expressionistic strokes. Having been an artistic child and an
imaginative adult, Filigheddu began painting in earnest by studying the
quick, bright brushwork and lyrical immediacy of the Impressionists. It was
a natural interest and influence, as the artist says of his childhood that
he remembers mostly “the colors and sounds and words of life. I’ve been
always attracted by creativity, in every shape.” Like the works of Monet and
Van Gogh, these paintings speak to the poetry of a moment. In this way, they
urge the viewer to breathe in the vitality of life, and search for their own
individual expressionistic voice. Mauro Filigheddu lives and works in Italy, where he has been honored for his painting. Agora
... A mysterious pyx filled up with
dreams. This is what Mauro Filigheddu creates with a grand character. His
art lies at the borderline of unreal, is rich in feelings, in emotions,
involves the observer in a profound meditation...
...In Mauro Filigheddu's work it is possible to notice a pied multiplicity of themes. With the exception of the artists Maskfaces recurrent theme, the residue is a colourful sequence that runs not only to impressionist subjects: it is probable to catch sight of some glimmers that lead to Pollocks work, in the inescapable randomness of colour insertion. Paolo Frongia, 2006
…visages, eyes, noses, bodies remain in our mind, they are captured and immediate pictures that dwell inside us between reason and emotions. They are so strong and do not decompose, they remain clear, tidy images. Those images or their remembers are still, inside, but they can move our emotions, wandering into something we cannot interpret , we just can feel , observing. Daniela Criscitiello, 2004
...when observing Mauro Filigheddu's work one feels as he's floating in multicoloured atmospheres of dreams, where reality and unreality mix together and alternate one another... Santi LIcheri, 2003
…If the brushes were alive and could paint by themselves without any intervent by the artist, maybe they would choose to dance all together on the canvas without any preconceived hierarchies of shapes and colors, better than obeying to a hand that commands. The final result would not be different from that world full of bright light and of apparent anarchy emerging from the animated surfaces of Filigheddu’s work. Both the evident remoteness from any foregoing school and the contrast between the outward casualness of the outline with shapes that slolwy reveal themselves really can amaze everyone... Pasquale Filangieri, February 2001
…the very personal review of ancient mosaic techniques recurs in his paintings. These mosaics are not made of stone, now. They are made of shapes, of visages, sometimes they are made of very bright touchs that join one another in complemantary tonalities. In the end these colors emerge again in this manifest simplicity of drawing. Everything looks like a naturalistic microcosm made of cells, of atoms, of molecules that react and follow each other. So the painting gets alive as a work of art... Giorgio Camilleri De Longhi , June 2000
...in Filigheddu's paintings you seize a twinkling cosmos of tints (often there are complemetary colours) in which you can dimly see visages of men and women in motionless expressions, something like masks. It is not difficult to resemble this kind of painting to Webern's musical structure. It is bound by the rythmic and timbric values of the serial law that co-ordinates the frequency in the succession of notes. In this artist, it is a succession of coloured points... Wally Paris
… cold flames of light and deep blue, as an aquatic embrace; red, yellow and ochre spots that, if well-observed, turn into a visage or a nude of a woman. A gallery of dreams and hallucinations that seem to allude to nightmares, ancestral fears, unconfessed wishes. Images with a strong relish of impressionism… Annapaola Ricci
… Interior visions developed through a chromatic choice, that put him in the actuality of contemporary art… Andrea Nieddu
…To believe, like some masters did and do, that color is everything, as far as making it body and soul in a painting, refusing each figuration, certaingly is a sign of a new alight sensitivity and of courage, too… Enzo Fabiani, 1995
A true innovator silently making his way in the contemporary outline. Singular, his use of color in the totality of shades, peculiar, his short line and dense gestuality, impetuous, his personality… Rubens D'Oriano, 1994
… A sharp and keen glance that reassembles tesserae in a contained world, but rich in life ferments…By these paths thought gets line, sign and color, fixing on canvas in softly rough shapes, sometimes, but always new and unedited, and returned alive by the particular sensitivity af an artist who found his natural habitat, he knows where to live and operate between the hard rocks shaped by the wind. Images like fragments of life, flash with bright harmony, then become dense with a deep contemplative wealth; elements featuring and representing a painting that drowns its mnemonic and oneiric contents in a continuous but steady recall to certitudes of reality that so acutely surrounds it… Francesco Manconi
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