Since the dawn of time, creative artists have tried to bring into being two separate visions: what they saw and how they saw it. Observation, for an artist, is more than description, it is interpretation! It is the whole of what he sees, hears, knows, and experience. Every creative person moulds this vision into an individual reality. Vestiges such as the cave paintings of Lascaux and the Venus of Willendorf still maintain their strength, even 20,000 years after their creation, because they cross the boundary between what we recognize with our eyes and what we record with our subconscious.
The works of Costanzo Rovati reveal a rare symbiosis of mystical and practical, primitive and ethereal, earthly and the divine. He has developed an unusual technique that gives birth to a new and incipient relationship between the pictorial and sculptural disciplines. Dimension, light and shadow, movement, weight and weave are integral parts of his work. Rovati uses this peculiar dimensional quality to help his distillation of reality in a new creation. He has created a rich and unique vehicle of his own. As an artist, I too work in an unusual field (atomic energy), so I know first-hand the experimentation and technical knowledge that must be achieved alone before “creativity” is manifested in an “artwork”. Costanzo has reached its mastery. His painting is evidence of creativity as well as of unusual techniques. “Brightness” is not a word that is commonly referred to painting on canvas, but Rovati is not interested in what is usual. His works emit light, not only of inspiration and reflection, but also primordial light at the acme of its foundation. His paintings shine. They seem to contain their own light source as if they could even shine in the darkness. How he succeeds in achieving this mystical fusion of Zarathustrian conflict between light and darkness is indeed his secret and art. It is our task, however, to experimentalise and share; getting involved in the private dimension and personal vision led by an artist is the greatest compliment. It does not matter if our reaction is one with the artist’s. It is like a light that illuminates a new dimension. We are grateful for the lighting. Lighting and luminescence are hallmarks of Rovati’a art. Quibbling about the source of its brightness is tantamount to saying that the moon does not shine. We do know that it gets its light from another source, i.e. the Sun. For me, however, as well as for other romantics, the Moon shines. This is also true for the pictures of Costanzo Rovati.
New York 1994