Giovanni Spadolini

SAO PAULO( 27 Aprile 29 Maggio 1994)

I thoroughly welcome this endeavor aimed at propagating in the American continent, through the anthological show exhibited in the Museu de Arte de Sao Paulo, Brazil, the knowledge of Alberto Sughi's artistic work, to whom I voice my deeply felt appreciation and wishes.
Sughi contrives painting as a journey, as the unexpected and unpredictable development of the internal motion of a feeling, or rather, of a stratification of feelings. "I do not paint what I already know - he said once - but what I learn by the action of painting".
This comes to a research clear-headed and somehow occasionally aloof in the midst of the worries, of the anguishes affecting present day mankind.
The artist knows how to think over the evils, the distortions of the world we live in, all the time putting anyway the basic role of the individual in the very centre of his meditation by images. And his original and disillusioned interpretation of the human condition results in the expression of a message anticipating, pragmatic, never rhetoric, never conventional and with a trace of hope at bottom.
A message adverse to every kind of magniloquence and of didactic impositions as well, a message carrying a strong symbolic value on which to meditate: the primacy of man opposite the countless bullyings that fill the world where we live. Opposite the countless tentacles by which the power, every form of power, demands to curtail, to hinder or to repress our freedoms, our dreams and our flights.
His paintings are permeated by an everlasting longing for redemption and retaliation, with a yearning and a constant contradiction between love and indifference, between an unsuppressable pining for communicating and incommunicability. "I was repeatedly surprised in noticing - these words are Sughi's - how much difficult, even painful it is to establish relations of intense communication inside a society that has made exactly communication the most everyday aspect of its life".
And that unending journey that is painting, which causes "a canvas to issue from all those one has painted before, from all one has learned by painting", is always kept up with the greatest freedom of expression, without any restrictions coming from school nor theoretical models, nevertheless pervaded by open experimentation and research in strict connection with several artistic and cultural experiences.
A "realism" (a definition Sughi is not particularly fond of) charcterized by a strong plastic balance, by a sparing use of forms and colours, a moderateness that proves how Italian painting, also and especially in its best instances, is and has to be a painting of international standing

Giovanni Spadolini,

Presidente del Senato della Repubblica Italiana, Roma 1994

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