I Dream Of Tiffany Towers

Criticism of the work "Tempus destruir "

Thomas Didymus AND THE DYNAMICS OF RESEARCH

" Each painting must give a sense of the show "

G. de Chirico

Thomas Didymus is an artist that keeps the pen of the critic who looks after him, to stand firm . Tempus destruir, fact presents a novelty in respect of the works just before. We talked of "Informal Anachronism", with this latest work, the noun the adjective tends to swallow. We are dealing with a specific "emphasis on figurative" although we can not talk about "complete form". The reiterated love for material wealth leads Didymus the arms of a clear choice Baroque. Tempus deustruendi is a very opulent and spectacular work, what happens in such a theater? Emerges from a cave a row of condemned some of which are invested with a sort of "metamorphosis bird." Didymus like hell in this place because the laws are dramatically altered the visible and everything is possible, the sky is fire and the rosary of the damned frantic end to the right with a titanic figure of Michelangelo. The kingdom of Charon is not just excess and upheaval, from the cave, in fact, a steady downpour of rose branches running towards the male figure that we talked about just above. This is only logical, if Hell is the place of the hyperbola, then the power of images will be overflowing, the most exquisite refinement of the decline. We spoke openly of the baroque nature of our work, a fact, not surprisingly, has its roots in the two starting points of Didymus: Informal and action painting. Now it should be noted that such a choice defines and confirms a clear stance and aesthetic criticism. Didymus always argues with any form of essentialism and "slimming art" excludes from its horizon, hence the "concept" and gave himself unreservedly to a moving painting, lavish, "sardanapalesca. As the Baroque Town, Tempus destruir undertakes the task to impress, move and persuade. Persuading what? Just art, at the zenith of existence. A tip that the glorification of the imagination? Again, as in the case of the Baroque, Old Town, to salvation. We are safe but not in the direction of the Catholic message, but, as we said, in the direction of art. This, in turn, contends Thomas Didymus, grow and produce the 'otherness , but not the otherness orthopedic suspended and the Met, but of a radiance and a phantasmagoria that there is no empirical universe, and that only the painting, with its timeless alchemy, and can ensure the triumph.

Robertomaria Siena