Gerardo Gerardi, an Italian painter, is originally from Foggia, in the Gargano area of Puglia region (Apulia), in southern of Italy. Gerardi’s works have not only been exhibited in Italy, but all over Europe: Barcellona, Berlin, Ferrara, Milan, Lugano, Palermo, Torquay and Stockholm. The artist began his career at the Liceo Artistico di Milano (the Art School), and then went on to study and finish with the Accademia di Belle Art di Brera in Milan (Brera Academy of Fine Arts), where he studied under Raffaele De Grada, Domenico Cantatore and Luigi Veronesi. Gerardi also studied in England at the Technical School of Art in Torquay. Currently, Gerardi is a professor of painting at the Accademia di Belle Arti di Brera .( Academy of Fine Arts in Brera – Milano - http://www.accademiadibrera.milano.it/ ).
Upon first walking into the art gallery of the Church of Saint Peter in Atrio, the movement and emotion of the broad brush strokes on Gerardi’s paintings pulled on me. It was already then in that precise moment ”before I had even had the chance to look at his work up close and personal” the texture-rich imagery of characters and symbols were inviting me to feel them. Dark colors dominated, such as blacks, blues and grays, but it was not limited to this, for other works were again lighter and brighter. Vibrant colors and imagery emerged from all over, but what was consistent in the works was the repetition of characters and symbols.
Numbers, circles, triangles and squares, or hearts, crosses and arrows were painted among the dark and light colors. Some these characters and symbols stood out boldly, as if they were seeking out one’s attention, while others were subtlely placed. Nevertheless, all these presentations invite one to behold their abstract communicative and emotive content. An example of this technique is in “Fascia blu che attraversa la casa di Filippo (1996)”, illustrating a bright strong personality in the characters presented. “Capitello” (1997) appears to illustrate a subtle, even vibrant, emotive treatment of characters. And, yet at other times, the artist has presented it in what appears to be short simple phrases of characters. One can see this in “Cielo sotto sopra”(2000).
I had the pleasure of personally being guided by Gerardi himself as he introduced me to his large collection. Hearing his philosophy of how he creates was for me inspirational. Gerardi explained what kind of art it was, in the meaning of how his technique is best appreciated when some of his paintings are viewed under a certain light. To make his point, he just lifted some of the paintings off the wall and carried them over to the light. The light accentuated the shapes, colors and textures transforming it into a three-dimensional imagery. It was essentially the delicate emotional treatment of ancient characters and symbols. Yet, only twenty minutes earlier, upon walking into the gallery, I had perceived the painting in a different way not at all knowing that the texture was so profoundly communicative.
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The textures in Gerardi’s paintings are remarkable. Upon a closer examination of the paintings, in general, one can see how the textures on the paintings are created with what appears to be sand or even something chalky. Some examples indicating this are “Base T” (1996) and “Cielo nero con nuvola”(1998). The rich cultural heritage of the artist’s native Puglia region (Apulia) is quite evident in the paintings. Gerardi’s use of earth and sand from his native Puglia region (Apulian) of Italy, inevitably submits our senses to feeling the imagery, but also its cultural particularity. For it is Gerardi’s actual use of these native Apulian materials that makes one realize how the ancient past will aways in some way be with us, as he said: “it does not matter how old things are, the symbols are the same.” For, Gerardi, it appears to be significant in creating the historical-cultural landscape of characters and symbols in his works.
“Art washes away from the soul the dust of everyday life”
To walk among the Gerardi collection is a constant evolving stimulation, as one could never know what is to be encountered next. Gerardi then introduced me to two large paintings entitled “Al centro del margine” (2000) and “Homo Faber” (2000). These two particular works were hanging directly above the glass floor, located in one section of the gallery. However, before I speak further, one must be aware how the location of Gerardi’s exhibit is in itself remarkable. The original foundation of the Church of San Pietro in Atrio dates back to 100-200 A.D, to the time when the Roman culture inhabited this very region of north Italy.
So, while in one instance I encounter the paintings of this Italian artist, then in another moment my eyes transcend the glass, wandering, and eventually focusing on some images drawn on an ancient Roman wall directly beneath my feet. The experience before me was enchanting, because I could stand back and study the paintings and yet simultaneously look down at the Roman characters and artwork. This artistic repetition, whether in the present or in the past, makes one realize how “the symbols are always there”.
The various paintings in Gerardi’s collection all glow with their own personality. Some interesting ones to reflect on are “Africa 2″ (1996), with its rich colored strokes and shapes of furniture and cultural artifacts. Another one to note is “La coppa di Nestore” (1998), with its dominating blue and black color and hint of antiquity.
Gerardi’s work were on display at the Church of San Pietro in Atrio until 1 October 2006, and were presented again in Spring 2007 in the Como area. Also, in 2007 Gerardi’s collection was shown in Zurich and in Brussels. The Gerardo Gerardi art exhibition was sponsored by: the European Community, Comune di Como, Comune di Foggia, Accademia di Belle Arti di Foggia, and Accademia di Belle Arti di Como.
Gerardi’s “Sentire l’Immagine” ( Feeling the Image) is a celebration of artistic expression spanning forty years from 1960 to 2000.
Gerardi’s “Geografia dell’Anima” is another celebration of his incredible artistic expression spanning fifty years from 1959 to 2009.
