CRITICS

             
       

STATE OF CONSCIOUSNESS

anno 2015

 

Critique and Thought:

Prof. Vincenzo Abati

Art Theorist, former Professor at Accademia di Belle Arti di Lecce

 

In “STATE OF CONSCIOUSNESS”, Christian Montagna acts as a lonely witness of the unfolding of reality, meant as a foreign world that leaves him indifferent. This means that painting is his heart, his flesh laying bare, the gift of his own self. No other explanation is possible; there's no sound or emotional noises; in his paintings there's only silence and solitude. What follows is a pictorial attitude where Christian hopes to find a glimpse of religiousness that may gratify him with the joy of peace and rest. Art thus becomes religious feeling as the urban sight of his paintings becomes earthly catharsis against a dull and sunsless sky. What does it all means? While many regard landscape painting as a genre, to him it is a necessary mean to participate to the life that keeps him out and a way to integrate into the world, to undertsand the others and be understood in turn. In the wake of such certainty, Christian paints; paints spaces of soulless cities that instantly become the most intimate spaces of his ego, and that's maybe why not even a trace of human presence can be seen. Everything is soaked in a sense of deep bitterness that the artist feels as he observes and acknowledges his own - and maybe to a lesser extent other people's – existence. A painting which, characterized by the uprightness of towers and the horizontality of planes, embodies the mistery that lingers in a barren sky. Then what confers such mysterious meaning of that palatial architecture to the image? It is the very simplicity and immediacy of the image itself and then of the colour, actaully of the light-colour, here particularly soft and convincing, which illuminates and warms up the gloomy and sulphurous tones of the whole composition. Mustard-colored skies, stained by pearly lacerations or lashes of antique pink, exalt the romantic side of landscapes where the substance of colour, ranging from pitch black to ochre yellow, confers to the painting a tangible but blurred thickness, able to turn the subject into a personal and poetic image. This pictorial syntax then bears his mysticism, the burden of a naive faith, the outburst of who feels the need to be alone, to escape from the others, from the noisy crowd, offering sights where only the beating of his solitary heart can be heard. Silent scenarios which appear and develop through cuts of light of metaphisical reference; and it is precisely the light, the light of his soul, that reveals the cosmic mystery, and that, clearly related to reality, takes shape into forms and tones that characterize his artistic signature. His paintings are timeless, unbound by limitations, open to communication, and with communication his art fulfills its social action, because the spectator before the painting is free to identify, to emote, free to live inside a drama that elapses and renews itself without hopes of liberation. I can therefore come to the conclusion that the works of “State Of Consciousness” are not the outcome of a meditation, but the product of an artist who, by now mature, persists in repeating himself.

 

November 2015

 
       

HERESY - the paintings

anno 2011

 

Critical Thinking:

Francesco Fonte - Musician | Music Composer

 

I admire the greatness and the importance of your paintings. Your Art is the Light of truth. Invaluable.

December 2011

Critical Thinking:

Daniele "Argento" Orzati - Musician | Music Composer

 

Your paintings are disruptive, intoxicated, they are the apeiron. For "HERESY" your amazing expression finally sets your daimons free. All is immediate, less mediated. I'd like to see them live.

May 2011

 

Critical Thinking:

 

Peter Andersson of RAISON D'ĘTRE and Side Projects - Music Composer within the dark ambient, noise, industrial

 

 

Wonderful Paintings. Powerful as always.

 

July 2011

 

 

 


 

 

 

HERESY - official video

anno 2011

 

 

Critical Thinking: 

 

Peter Andersson of RAISON D'ĘTRE and Side Projects - Music Composer within the dark ambient, noise, industrial
 

 

I like the video. It's very great to see you working in this old factory, it gives all an astonishing atmosphere. The camera catch some very good moments in the process of painting and the interaction with the surrounding desolation, and it's just beautiful. I love those moments when the camera goes from sharp to blurry and too sharp, and the close ups, especially the ants. I put the video on my youtube channel.

 

May 2011

 

Critical Thinking:

 

Daniele "Argento" Orzati - Musician | Music Composer

 

 

This video is a great work. It has a very strong concept with its matter in ruins. The criptic music is in contrast with the brightness of the daytime. Feel the energy of your country.

 

June 2011

 

 

 


 

 

 

IN ABSENCE OF LIGHT

anno 2010

 

 

Critical Thinking: 

 

Prof. Vincenzo Abati

Theorist of Art and Professor at the Accademy of Arts in Lecce
 

 

The exhibition is entitled "IN THE ABSENCE OF LIGHT".

An yet, reading his pictorial syntax I do not think so.

There is not one painting that is not a flash of light, both material and spiritual, there are bright flashes of yellow, white and black who hit and involve the viewer in the chromatic whirlwind without his noticing.

So I wonder: to which absence of light does he refer?

Certainly not to that aggressive light that "wets" his paintings. No doubt!

But to that light that is missing in all of us!

Our spirit, broken by daily anguish, frustrated by the insults of the media and the chaotic and neurotic life, does not allow us a clear, bright, innocent view of the things and the environment where we are and exist.

Starting from this assumption of nihilistic value, Christian Montagna carries out his art scenario through the emergence of images, almost like spectral shadows, of a deboned architecture that seems to float on the abyss of depth and verticality.

Images that, free of academic or pre-made patterns, destroy the scenographic collocation of perspective in favor of what I like to define the total synthesis of ESSENCE - SPACE – TIME.

All Montagna's work is aimed at the effort to "communicate" and comes from a restless spirit that looks and questions about everything, hence its intention to bring others to investigate the depths of the self.

The artist points toward a painting of deep research, whose stain valuably reaches the limits of the Informal.

The tracks of the plant and the color tones are fed by a deep drama and the matter of compositive softness prefers aridity to the slick fabric of the stylized.

This is a proof of existence of a critical tension by which Christian feels involved creatively for stimuli of conscience and feels the need to address and pursue the theme of an unfulfilled pain where the creative spirit expresses itself in all its freedom .

But it is not exact to define his art: Informal, he actually likes Informal's most subversive and unconventional aspects, those that stimulate the contradictions, those, in short, that lead him to talk to and sometimes yell at his own unconscious.

The Painter knows that in practice there are no reference points to lean on, because everything is unknown to us, because the human condition is doomed to live in misery, and always will be until man continues to consider reality what is instead pure convention.

This is, in my opinion, what the artist means with the words "In Absence of Light".

The visions of urban space are not real, but rather conventional allusions, veiled by the deception of our perception. Those skeletal buildings floating on the chromatic keyboard of yellow, black and white, are nothing but distortions of human feeling.

The frankness of the rhythms, the figurative clarity, are replaced by the dismemberment of color, by a disturbing vision of its own that refers to the restless motions of the soul attacked by the neurotic storm of the consumerist society.

The true protagonist of the whole work is YELLOW, the color that sometimes evokes numbness, sometimes passion, sometimes silences, but that is anyway the edgy tone that stains the architectural structures, which clogs up the gaps, dripping, such as blood, on the spatial figures, dressed in black.

I already wrote about him, and I confirm here that Christian Montagna reveals a very personal painting style, relying only on instinct and enjoyment in the act of fixing what most excites the viewer.

His message is crystallized in images that transcend the real and sublimate the ethic combination of art with reality.

A message that is capable of being both comunicative and unending in its creative source that continuously delves into the unconscious, looking for that Something that can shed light on the path of TRUTH.

 

December 2010 

 

 

Critical Thinking:

 

Pompea Vergaro - Writer, Journalist, Art Critic

 

 

The Work of Christian Montagna acquires a tridimensional shape thanks to the equilibrium between materials and essences of light, not absences as the artist suggests. He tries to misdirect us not to deceive, but to tell us that the way is here before our eyes although we often can’t see it. We have to start  up in order to emerge, we have to rise from the dark in order to meet the light. He uses recycled materials, wood, cloth, panels, because salvation lies in the microcosm. Where instinct, pregnancy, irruency and light, lots and lots of light, live together.

Fluctuating essence coming from the poetic world of the artist who’s searching for those explosive flashes that he pretends he can’t see, because in the end he knows that the road to research never ends and constantly transforms. Skillful and polished is the brush in the same time, but not in the same place,  producing a crystal clear painting, permeated at the same time by obscure presences that from the microcosm aim to reach the macrocosm.

 

January 2011

 

 


 

 

SUITE OF SUNSET

anno 2009

 

 

Critical Thinking: 

 

Prof. Vincenzo Abati

Theorist of Art and Professor at the Accademy of Arts in Lecce
 

 

Lucio Fontana, one of the leaders of the Italian's Informal Art, in the "Manifesto Blanco" of 1946 asserted:" The Art dies as a subject and technique, but is eternal as artistic gesture".

In my opinion the statement of Fontana is purposeful and meaningful to the creative project of CHRISTIAN MONTAGNA, because beyond a certain timeliness in taking credit for signs of an informal nature, his gesture is faithful to the artistic movements of the soul, the involvement of the spirit that, besides being a simple expression of feeling, shows evocative tension meant to seize, through the perceptive power of chromatic vibrations, the epic sign of environments and spaces interpreted with meditative poetry, the result of a careful study of gesture.

And here is the sense of "eternal" in his pictorial art, an art that gives his work an immediacy of perception that interprets the absence of objects and their interaction with the forms of nature. His informality is one that tends to the figurative, but then deviates to become primordial expression with which it is easy to get lost in the shades and nuances of its landscapes which, "abstract" from the true reality, become a place of soul, of a universal soul that only those who lack the proper sensitivity can not penetrate.

The paintings of Christian Montagna in the new series of “SUITE OF SUNSET” are not born to be expressive interior motion, but for the need to escape and to communicate with the outside world in a completely instinctive manner.

It is precisely within this logic that the pictorial syntax of Informal Art is set.

Montagna, in short, reveals a personal style that relies only on instinct and pleasure in the act of fixing what most excites the eye of the beholder.

His message is crystallized in a magical array of images that transcend the real and sublimate the ethic combination of art and reality.

Colors flushed by strong colors and associated together by an intimate momentum of great emotional thickness give to the whole work an aggressive involvement through which the observer, while not understanding it, can guess the symbolic value and strong compositive structure.

A pictorial result between poetic unity and musical rhythm comes out, that in the image reveals a thoughtful and authentic relationship with the most real and effective dimensions of reality and existence.

 

November 2009

 

 

 


 

 

 

OTHER CRITICAL THINKINGS

 

 

 

I like your Art. Amazing.

Make Pesonen / KARJALAN SISSIT - Musician

I like those colors very much, especial the intensity of yellow, and the "abstract shapes" that are almost visible, or rather it's a blurriness. The output is very obscure and suggestive and it looks like the paintings is asking questions in order to be revealed.

Peter Andersson / RAISON D'ĘTRE and Side Projects - Music Composer within the dark ambient, noise, industrial

I really liked the style of your paintings, they are fractured but repetitive patterns. I like abstract art like that.

Simon / ATRIUM CARCERI - Music Composer within the dark ambient, noise, industrial

I was looking through your paintings. Great Art. I really like it.

Peter Bjargo / ARCANA e SOPHIA - Music Composer within the dark ambient, noise, martial industrial, folk

Fantastic Art.

Marco Kehren / NIHIL NOVI SUB SOLE - Music Composer within the dark ambient, noise, martial industrial

I like your paintings. Apocalyptic visions.

Lina / DEUTSCH NEPAL - Music Composer within the dark ambient, noise, industrial

I like your painting for Peter Andersson's album "Music For Film and Exhibition II". Is perfect for his music.

Rodolfo Protti / OLD EUROPA CAFE - Label Manager

Very interesting paintings.

SVART1 - Music Composer within the dark ambient, noise, industrial