Piero Tramonta

Criticism

"...Thought and impulse are the two titans drawn up against each other to contest the imaginary: the art of Piero Tramonta underlines the reality of this tension, in lacerations that prefer effort to compromise. The result is the vitality of the canvas and the pigment which are no longer an inert support of static designs, but participants involved in the struggle and which leave a trail of discharges of energy: matter "sub-stantia", becomes a living creature, the author's interlocutor who rouses it from its inertia and makes it aware of its responsibilities at the time of its confrontation with the public. In Tramonta's expressions, thought is confronted with impulse: on the one hand, the superbly dominated technique, which is capable of photographic finesse, and on the other, the vital tangle of rebellious inspiration of forms and norms. Thus, it is not a fusion but a ferment in the making, whose every single work is an active witness of a suffered evolution. Piero Tramonta is in search of a balance, which he refuses to accept, along an endless road of syntheses destined to assume the role of antitheses, and of germs of the next work. Therefore, every painting contains not only the past, but also the future, in the vital principles which only hindsight is able to recognise.
Therefore, the works of Tramonta must be considered in their chronological order, since each of them has its precise place in the temporal rhythms, outside of which the path to understanding them is lost. The contemplation of a single work removed from the path can, in fact, stir emotions which, if placed within the dynamic evolution, assume values that are sometimes opposed to each other and counter temporary tensions with a progressive and serene development. With this aspect in mind, this catalogue becomes a precious guide which, by revealing the succession, allows the critic's insight to grasp both the artist's intentions and the things that are common to all in the universal journey of anthropological maturity."

Alessandro Zucchelli

[Dal catalogo Piero Tramonta, Opere 2000-2001, ArteCapital, 2001]

"...An artistic journey, signalled by a clear sign of an impressionist, is at the origin of Tramonta's work the roots of which lie in the wake of investigations on Man but which are perhaps too literary and bound to an ecologism involving Man. Until the end of the '80s, Tramonta seems to stay close to subjects that tend to impress on the image an explicatory dimension.
The turning point arrives in 1990, when he re-introduces some of the themes already present at the beginning of his artistic career: his freest symbol seems to emerge in vegetable forms. Tramonta begins slowly - there are still profound traces also in the successive years - to exit from an anecdotal narrative and, on the wealth of investigations on Nature itself, emerges within him the meaning of his mark which manifests and characterises -starting with "Presenze" in 1992 - in decisive forms the development of his painting, among awesome landscapes, revisited on the store of some examples, and chromatic freedom.
Having reached the threshold of a shapeless world, which maintains only a trace of the original one, the artist accomplishes with the display which is not documented in the catalogue, a further evolution that increases the depth of the symbols: the work becomes a sedimentation of traces, some existing before the same pictorial intervention: Tramonta intervenes, acts, lets his hand wander freely in search of a meaning, but which is often conditioned by the traces it is unable to escape from, and by an expressive randomness that thrives on intuition and on the development of the symbols. Perhaps a recovery of Nature, through the gestural expressiveness, which is a characteristic of his , may establish his distance between freedom and control, and constitute the objective indication of his expressive process."

Mauro Corradini

[From the catalogue Piero Tramonta, Opere 2000-2001, ArteCapital, 2001]

"...Tramonta's most recent and present expressive mood could, at first sight, appear to be very distant from the more openly surrealist period. The absence of an immediately recognisable figure, the fluid symbol, the pictorial matter which spreads through channels that have no reference to any preconceived system of symbols, emotional makeup, abstract and intenorised space: all of which leads to the discovery of an artist who is either new or totally re-newed and without any apparent signs of continuity with the past. But it is not the case. The signs of the radical "mutation" even though they were veiled by the domineering iconographic data, were already present in the paintings; but they appear more visible in his drawings, so much so that one may say that the definite passage can be realised thanks to the specific form of expression which is the drawing.
In the large drawings of the "Ripercorsi della memoria" series, space already becomes more puzzling and takes on decidedly "abstract"connotations; within this space, the symbol becomes more embedded, agitated, and upsetting a representation that is less and less recognisable among the visible tangles and the white spaces that are like dazzling, sudden and dispersive flashes. Thus, the transformation can come about without facing a long period of gestation: the paintings of Piero Tramonta assume particular features, in originality and in individuality, they offer a reading that no longer needs to turn to objectively described references, and they lend themselves to interpretations conducted on a taut tightrope of emotiveness and the particular emotional state of the observer.
But what are they? What do they really represent, these mysterious canvases of Tramonta? What lies behind the fascination of those forms that have been created with objective fiction and, at the same time, difficult to define or to describe?
They are nerves, sinews, entrails, blood and human tissue, lacerations produced in the flesh of a humanity already lacerated. They are also open wounds on a chaotic living substance so that we can rummage over this matter with pitiless cruelty and with a sense of drama. And dramatic - no other adjective would suffice,- are Tramonta's compositions which are dominated by a suffering that makes us involuntary participants at a sort of macabre feast whatever their involvement may be, and whatever be the persuasiveness they show with their charge of visual clarity. Which brush would an artist ever use to paint such images? More than the artist's tool, our mind conjures up a scalpel: to lacerate the tissue of a "great organic body" and to observe the internal structures; or to verify the state of health as a surgeon would do with his sick patient or with a corpse to diagnose the cause of death. In short, the work of this artist, who can now claim a high level of maturity, transmits to us perfectly the sense of what it means to work passionately and with suffered attention. It is the passion of an artist who never forgets he is a man among men, and whose conscience is loyal to its own ethic dictate which drives him towards an itinerary that is not evasive but of great commitment both civil and poetic; this is a demonstration also of a way of living life as an existential conflict and towards which, despite the knowledge of the tribulations, indicates no solution to solicit remedies (which would be, moreover, shameless and foolish, and certainly not Tramonta). Thus, he reacts as best he can: with the stifled scream of an art that is both tormented and agonising, but dramatically alive."

Franco Migliaccio

[Dal catalogo Piero Tramonta, Opere 2000-2001, ArteCapital, 2001]