Claudio Palmieri

Criticism

"...The artist has gone on to develop even further the work started by Fontana with his innovative use of canvas and various materials. Palmieri uses uncontaminated materials capable of expressing a suggestion of romanticism, the memory of something recognised which are extracted from the very soul of the material. ...If in life their are any conflicts, in the economy of art, in this case in the language Palmieri uses to express himself, this is represented by a combining of materials which are very different from each other, but which somehow correspond to the need for transgression. They are put together in such a way that they are finally integrated to create a classic sense of balanced energy."

Achille Bonito Oliva

[Dal catalogo Claudio Palmieri Scultore, Associazione Culturale L'Attico", 1987]

"...and it is the colours, not unconditional but authoritatively independent, which are the main subject of the picture. They are mineral colours, parched, which do not pretend to be beautiful tints. They are laid on the canvas like sediments, thick with a hint of antiquity. These colours are rich in memories, but do not reveal their origins, however noble. They seem like antique paints, blues, golds, strange faded reds and ossified whites. But there is also an echo of alchemy, of Kleinian mystery. The colours are never softened, never there to titillate the senses. Bright blues, yellows and red yet again, they seem to want to want to remain on the surface or separate themselves from the image, to express, if necessary, their definitive artificiality, richly humorous but with an unrelated solidity."

Flaminio Gualdoni

[Dal catalogo Claudio Palmieri, Edizioni Galleria 92, Milano 1992]

"...Like Leoncillo, Burri or Giacometti, he knows that nature can be brutal as well as poetic, that it can destroy as well as create. His work shows a tragic presentiment behind an array of sensuous colours, or maybe only an awareness of how it is impossible to find refuge in a yearning, lost naturalness resulting from the constant necessity of facing up to the uncertainties and conflicts of today's society. Because of this, he pushes his shades of deep blue to the limit, or makes his antique gold gleam, his colours are on fire or bathed in a silver light in an attempt to create an unreal combination of artificial tones, moving ever further away from nature itself. Colours, like materials, can be seductive or aggressive, can attract or repel and they can also be almost too beautiful to be true or too strong to be beautiful."

Ilaria Schiaffini

[Art in Italy n° 12-1998]