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of the Sacred Circle: a critical essay by Prof. Maria Lenti

Circle concludes space, expands the sacred: the contradiction, only apparent, the title of this exhibition expands in every direction while the second element focuses on an issue that questions (or points in question) and avoids clear responses. One would think at first sight, a closely Sacred (according to the usual meaning) religious and it is. But together, the word captures and releases a sacredness of life, a departure from the 'profane' for a meeting or the supersensible otherness that determines a sensitivity that touches the inner cords.
The exhibition shows both. But even more, if true that every artist expresses the theme and down and covers it, in the composition and technology, and led him to be anything other than what it is. So in Still Life with guardian angel (2008) of Lorenzo C abono , where physics and metaphysics, from the dark background that reprojects in the foreground, are close to touching but without dialogue possible. So in San Sebastian (2010) of Thomas shown , filtered by a figural tradition note, with his bruised body of dying in a white cloth, the sacred seems absorbed in an after-pain that receives it. So in San Tarcisio (2010) of Giorgio Dante , no longer young and not so much bent on martyrdom, but its timeless beauty, the sacred mystery that is in beauty cover. So in Carriers Madonna on background was (2009) by Norman Soscia , popular icon that traces the sacred memory to Our Lady of Mercy XV. So in the oil field Cross (2009) by Venanzio Manciocchi , in which color and shape draw a crucifixion suffering and foreboding in its sacredness, and the loss of purpose.

But the sacred is also an enigma, as in Sphere Celeste (2010) by Peter Weber , a kind of double, beautiful, cerulean background mask, which, in relief, seems to breathe a question or questions, or is an existential leap, as in Conversion Saul (2009) by Lorenzo Romani , combining the strength of the event which gives rise to energy, or to anchor piety, as in St. Christopher (1948) by Harry Rosenthal , the deep sense of sharing a steep path while, or it may be, the sacred, tender pride of a birth of salvation, as in Madonna standing with bambnio (2010), a bronze - pushed up - by Roberto Scardella .

Nine artists "in the circle of the sacred: some young people set out on non-conformist lines of research, some already with their art even in the always changing constantly renewing on stylistic features in distinction.

Prof. Maria Lenti

*** San Sebastian, 100 x 60 cm, enamel on canvas, 2010 (Thomas Didymus)

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