The art, the myth and the symbols of Claudio Scardino  by : Chris Stanke

 

 Surprizing like only an artist can be, mysterious as meaning as it be who makes of is art, an object of exhibition, decipherable only in depart, condition to know the alphabet of his artistic language and anyway somewath of infinites themes - references, the images, the myth, and theirs performances as his structures again elaborate.

Claudio Scardino, is a real artist, he don't alludes,  conceptualizes, don't zillion his choice of life and his profession, but drawn, gives forms, composes, colors, reassuming in his artwork, across images, of his artistic act, the dear themes to the artist of all times, with absence of bluffs and total freedoms of actions.

Neither implication of the best manual abilities, by line-up, of his art objects, becomes a limit at his invention; contrarily the hand ability becomes part of the costructive game, alive argil of his creation.

Holdover, the composition of the religioners mythologies, catches from different cultivations, together with that one of history of art, is the favorite territory of his expression, inexhaustible font of his compositive game, as builded around on free mental associations or of images and and that runs seamlessly work in new and different metaphor a bit of making culture, some of the flow of life that self replicates. But despite the circumstances, Scardino is a play maker, aims to tell with lightness and irony the profound themes of being and aspirations of ethics: his paintings, the same frames that surround them, his sculptures and polymorphic more materials, are stories to unravel with patience and knowledge, but joking with the audience and give him joy.

 

It would seem out of place, look for an artist like Claudio Scardino in the center of Milan. Yet he lived there, and his quiet studio, decorated with large paintings and etchings classic, created an extension to David. I went to see two - three times in the nineties, and we were fast friends.
His conversation at long range, passing by concise evaluations of paintings and sculptures in problems of method, and then, gradually, to all the current cultural and political.
What struck me immediately was the concern of objectivity: define shapes, colors, proportions, before performing any artistic gesture. These objective factors were an indisputable premise, a safe boot.

 

Returning to his work, you realize that pure objectivity is already offering, intelligence than the eye, important points of reference.
Consider, for example, the "REVERSE PERSPECTIVE", ie common use among the artists of the Middle Ages, of increase or decrease measures of the characters, based on the proximity or remoteness, as he then taught the prospect fifteenth century, but in according to the prestige, sacred or profane, who is represented.
Christ and the saints appear gigantic next to the tenderers or contractors, as small as dwarves or children.
Another element that Scardino did not neglect the relationship between the artist and his product.
The working method that is applied to draw from wood, marble or wax his images


 All this helps to understand the final image is always influenced by the mode of production.
The ultimate goal of research Scardino, like any artist, is the definition of style. What characterizes it, however, is a commitment to shape and adapt their own style, and here unfolds his doctrine, as well as its flexibility.
Beacouse Scardino is also a scholar of medieval sculpt and Baroque painting and particularly of Caravaggio, looking at cultures, mentalities, feeling very different ..
Through close reading, of his drawings, notes, journal entries, are both eroticism, repressed is also revealed in his early paintings, particularly in the treatment of the nude, it is the unconscious movement to a subblimazione work as an event culture.
And develop symbols which, although based on classical, are renewed by Scardino, for example balls also present in a number of sculptures, hide a latent erotic impulse, an unconscious symbolization of a repressed desire.
A panorama of the still life, like that painting, with acuity also symbolic, to characterize the treatment of this theme in Scardino, who seems to have moved, or sublimation-exaltation, just in the still lifes, the awkward feeling of his nudes.


 Feelings and characters are communicated, rather than by words, gestures or the organization of symbolic images.
It will sometimes the design of clothes, sometimes the game looks like a network linking all participants in a scene, revealing a potential dynamism.
Almost sketching a historical typology, Scardino investigates the characteristics of the art, so-called primitive, it is the archaic Greek sculpture or the pre Roman and also in this case the attention to the technique is invaluable.
But of course the iconographic school "
Ferrarese ", which basically shares, Scardino pushes the fascinating world of medieval mentality, with their biblical references and fantastic. This is why the tree of life symbol constant renewal cosmic exaltation,

among others, with its symbolism of the Greek myths or the caduceus symbol of spiritual power which is then placed in the palm of hand. In short, it comes from reading Scardino, conscious to know more and understand more.

Completeness is almost impossible to tell, but it is allowed a free interpretation.

Art alive.