Costanzo Rovati is a painter/sculptor marked out by a original fantasy, revealed by the particular employment of materials like nylon combustion, plastic, and acrylic on canvas. He loves symbols calling to mind formal structures, his works are abundant of romantic assonance and archeological memory playing with the meaning reference. His talent shows his character energetic and imaginative, and his artworks ooze energy and vitality.
I asked Costanzo Rovati a question about his research on matter. He answered, as is typical of him, that it is not him who looks for the matter, but the matter which goes towards him to be translated into a meaningful vision.
In his work Rovati never repeats himself, as in every picture and in every page proof he makes the source of his inspiration is always the desire fix a mental vision, a moment in the making, which he translates into dynamic energy, a motion that alludes to new experiences and space reconnaissance actions.
Costanzo Rovati is indeed an artist of his time who takes into account his contemporaneity; however, from the lesson of the avant-gardes of the twentieth century he drew the refusal of schematics and material taste. He tackles his work with the fake candour of an investigator, who apparently plays on improvisation, while he actually practices with expertise the alchemy of material mix, working both on gestural expressiveness and compositional control.
If we were to identify what his steps and procedures are, we could say that Rovati tends to make a fusion between visible and figuration, with a non-visible to be fully decoded that we might even be tempted to refer to as informal. The visible itself, however (human figures, trees, glimpses of landscape, or architectural interiors) is highly allusive, and therefore purely abstract.
It should be emphasized that his works take a peculiar aspect when the backgrounds and thicknesses create relief effects, in an optical and tactile play, so that the pictorial matter seems to come out of the medium to lovingly meet its creator, and then replicate in turn the same utopian embrace with the observer too.