After the death of Pierantonio Verga, this exhibition in Seregno (in Artesilva Gallery) is the opportunity to remember him: the singularity of human figure, the meaningful horizon, the deep and testimonial truth of his paintings.
In a recent visit in his studio, in front of the paintings that constitute the exhibition, it has been an emotion to found this symbolic motif in Verga’s works: the house, in the inner being of loneliness, in the language of silence, of colors, in the secret life of a glance.
We often meditate on the linguistic change in which we are immersed in: the symbolic loss of words; the acceleration of art where everything seems to happen and disappear in a while.
What is Verga’s house? It’s an archetype, the alphabet of human condition where everything lies in memory, in love, in intimate evocation.
Sometimes I listened to Pierantonio Verga’s thoughts in which he expressed his respect for two apparently different people such as Lucio Fontana (space) and Romano Guardini (expression of love).
When he was young, Verga worked together with Fontana. In this way, we can found a proof in his motifs of skies, silent letters, endless letters.
The house motif can be also linked to Romano Guardini (german culture but italian origins). Philosopher of spiritualistic existentialism, Romano Guardini, in relation to melancholy, speaks about the condition of listening the world’s voices in a “corner”.
The house in Pierantonio Verga’s works is silence, abandon, “corner” of the existence.
In this works there are three references deeply explicative: the humble house, the poet’s house, the angel’s house. The humble house is the exile from abstract cultural categories: this is the place for what we have loved, for the humble time that doesn’t leave us. The poet’s house preserves the word that doesn’t disappear in the absence night. At last, there’s the house where the angel accompanies us: a short meeting, or nostalgia, or solace, or illusion.
The house motif continues in the conjugation of unlimited expressions (as this exhibition titles remind): silent night, sky distance, almost sunrise, night is coming, home, heart house, memory house.
In an exhibition dedicated to Pierantonio Verga in Palazzo Bovara, headquarters of Confcommercio, the artist told me he was attached to Eugenio Montale’s poem Customs Officer’s House: the moving night house, memory house that shield the lost trace of a meeting, as a moment of what we have loved and didn’t happen.
In the house travel we can see the movement of colors. They don’t have an empirical and naturalistic relation. They represent the circularity of an interior time: white and black as day and night, the emotion of the red, the lighting of yellow, the proximity of green, the light blue of the sky, a pink sunrise.
In the uncontrolled communication of languages, Verga knows how to communicate, as the psychiatrist Eugenio Borgna says, “the horizon of silence”: words, mystery of silence.