The enchantment and the linear beauty

Figurative of graphics stamp Guglielmo Meltzeid has the power to put in prison the public’s glance thanks to on immediate language; so much communicative to become aware , to render protagonists, everybody autonomously, besides the conditioning of the same consumer culture.
Linked to a conception of the “painting’s happiness” and to a total loyal event’s dipping inside a limpid “see and perceive”, make nowadays’ problems simple and give a reading key given an expression to hope and optimism, in order to say how with a good will everything can be exceeded, created, solved.
Starts from a neorealist painting, linked with a spotless, shiny incisiveness of shapes, upon themes attached to human figure and refined, where image always appears solved in a sort of brilliant, glaring atmosphere.
Reconciles art with life, tending to identify the artistic operation with experience’s facts, in conformity with a deliberateness which purpose is that same life’s appropriation.
His painting’s major care is to track down the things true features, the real human presence, independently from actions and facts, elaborating a sort of symbology committed to the imaginary, in a form of hot realism, expressed with a graphic description and with an intense chromatism, into a sort of plastic decantation with aim purely formal, and sponging on a “magic realism” so much particular that when transposed on the painting become an immediate and fairy-like language.
His painting is overloaded besides of realistic boosts, of the real aspects analysis, of the objects’ recovery, filtered through the symbolic references, to the time’s flowing, towards the purpose of a missed simplicity, towards a threatened pureness…
The work of Guglielmo Meltzeid always intensively engaged, in the meaning anthropological and ideological, solved, moreover, with great sensitiveness and poetic strength.
This operation that, at the same time, showed itself extremely direct and simple, and also secret and hermetic, consists in drawing near things of opposite value in order to obtain, from their simple approach the meaning’s greatest tension, in the pure and simple dialectic game: in the work Wings of 1997 he opposes, for example, natural elements (the butterfly, symbol of an uncontaminated world) to technological elements (Electra Glyde motorcycle – in the particular of the propelling) in a contrast of energies sort of panic lyricism.
The intuitive analysis talking to, in the range of the portraits, their images as explicative and explanatory of a painstaking mental and effective formulation: not only somatic types (eyes, nose, mouth), but also different features, emotional moments, the most dissimilar (happiness, pain, surprise) hanging in the time, actual nowadays like yesterday; perfect in every habitat, both ancient and modern, both home and office or museum hereafter the sea or not.
Great sensitiveness, therefore, united with a deep study of the presentation and message that in his works are founded on easiness and clearness in order to speak to everyone, without distinction, almost in part, the hidden meanings of his paintings.
Real is by all appearances so simple, direct such a lot of be appreciate even by a child, who he moreover also speak. And possibly they only look at the most superficial appearance but truly absorb the colour, the consonance, the fairy enchantment.
Fairy a figurative artist’s work of graphic matrix? Well, yes, and also poetic: examine every painting and in everyone you’ll find a small surprise, but unforeseen that will make happy, the child’s soul you have appeased inside. It could be a drop of water, a red ladybird, a little star… or twelve little stars such as in Europe, works of 1991.
All in all his representation’s interlacement, succeed in reinstate and in reassemble the figurative elements’ scattering in the sphere of an organic kind of great pictorial quality, rich of plastic complexity and symbolic significance.
In every work nothing is quit at random, from the position of the subject, to the painting’s centrality, from objects to the synthesis of the size to colours, everything is studied and considered carefully; and still after all it appears so simple, direct and shiny to make certain that it’s a mere chance.
It happens also in the landscapes: look at the light and the colours of Portofino so different from the light and the colours of Argentario; and still the sea is not always “our sea”? Sea that even if always the same is always different in colours, in brightness, in the unity of water and sky that sometimes are founded on and make frame to a sail: is the man who is thirsty of knowledge and challenge the peril for furrowing the unknown.
And also what shall we say about paintings with flowers? Symphony of colours and perfumes, from what come afloat the art of poetry of a musical character. In the work of Viole di Sanremo the flowers are navy blue of different tones, but intense as well as deep is their perfume; breathe in and half-close your eyes; the violets stuns and become Liguria’s sea; and has the shape of a bow, like a bow also appear the frieze of the little pot that expound life, the easiness, of living in a quiet and light-hearted moment (just look at the seesaw of the dithering of pains and gladness) is the poetry of the blooming of a flower, timeless miracle that every year happen again.
Nature, consonance, in comparison with a see of feelings… a sublimate language, colour, size and shape: all that is Guglielmo Meltzeid.

Giorgia Cassini – art critic