Valerio Mazzoli is an eclectic artist not for rational investigation, but for the nuanced echoes of some masters for the multiplicity of fecund interests, for a range of existential events at the same time, however, he stands out on the crest of the twentieth century with a subtly unitary style, recovered for the emotional impulse and his fervent imagination, thus maturing a personal style

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With this baggage, he shows that he knows how to merge almost always in the compositional page, the residual readings of the past, thus succeeding in burning every slavish imitation. Not immediately having the illusory charm of the Renaissance perspective, he manages to focus his inspiration on the essence of creativity, without the ornamental decoration.

 

The images, as the painting "Mary Magdalene", are recomposed in the progressive ascension of the geometric figures, harmonizing according to a cadence, ennobled by lyricism, rather than by an organization of calculation, Valerio Mazzoli often eliminates an accomplished model, to entrust to the palette, in clear backgrounds, emblematic values and interior analyzes. The beauty of the achieved through the contrast of the chromatic element, without the joint of a concrete object.

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Through the Masonite (a kind of wood instead canvas) "The Passage" a beam of evanescent tones, totally frees the artist from any realistic remnants, because it assign to the individual's correspondence, the vision sublimated by an unprecedent charge. The artist penetrates, with the contribution of physiognomic characteristics and with the assistance of incisive brushstrokes, into the depths of the human psyche, to grasp vices and virtues ambitions and delusions, disturbances and joys.

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In the nudes he become the artist "chronicler" of the female figures, now for the plastic aspect, now for the leaving form. The soft sweetness, the calm violence of the color, the even stronger evidence of the loose and rebellious hair, reverberate psychological introspections and carefree spectacle of life. The turgidity and naturalistic flexibility, even if immersed in a sensuality hypothesis, exclude any subtext of spicy complacency due to the chiaroscuro influence.

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The physical fidelity, now full-bodied, now full-bodied, now thin, refuses in depth of the gradations and having placed the figure in the foreground according to a chromatic rhythm, achieve stylistic conciseness and expressive synthesis. Valerio Mazzoli is also dedicated to the realization of several works, which I would call "polymaterials" pertaining to religious characters, carried out with the use of materials, such as fabrics, pasta das, plaster and other-on wooden chipboard or with support cardboard scholler treated with vinavil.

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DON SANTINO SPARTA' - CURATOR and VATICAN ART CRITIC