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Between anachronistic and quotation suggestions, the neoclassic dream, in its post-modern
state, is revealed by Giovanni Truncellito as the dream of Shape.
Looking closer at this concept, the revisited neoclassicism is not to be taken in its
historically critical sense; and in fact the models which appear in the artist's work are
not only cinquecento (mainly manneristic) and neoclassic, but also Arcadian and romantic.
Models which flow in a coherent and harmonious way in a vision of Shape that trace the
individual imaginary world and collective unconsciousness.
The concept of Shape during the many aesthetic debates has been subject to a series of
different considerations whilst respecting its more original nucleus which connects it to
an expression of interior content.
During the manneristical era Varchi had occasion to write: "That beauty which we
consider as grace does not emerge from bodies or from matter, but from the
"shape" and all the perfections found in it".
An idea of shape which does not allow itself to be captured in an exclusive or superficial
way by the figuration found in Truncellito, a faithful and nearly absolute poet: his
interiority in fact is enrobed by every ritual and mystery of the mythical gardens and
cities.
The dream of shape is therefore once again the dream of the myth, of its heroes and
divinity, its motives and themes, its intrigues and revelations.
Myths, obviously allow also a vision which is apparently from different eras, and give
possible "escape routes" from a present time which is no longer able to satisfy
and resolve the gap between dream and reality; and nevertheless the escapes are also
theatrical, dare I say even scenographic and melodramatic.
There is evidence of anti-naturalism which exalts the creative artifice through a crown of
secret royalty which the artist transmits to the characters and to the divinity whom he
loves and treasures in his memories.
Even the contemporary has its divinity (its stars and gods) and the investiture of this
royalty (the aura of a renewed sacredness) has its last legitimate result in a form of
self donation.
This is what happens in the theatres in Truncellito's vision, where the auto awareness of
admiration expands into wonders, and tears apart the problematic darkness and Dionysian
background of myths, to then raise itself as a perfect force which has the capacity to be
an apparently figurative equilibrium.
Antonio Miredi
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