"[...] And I am impressed. Pictures of a force, indeed, of a violence, unknown to me. I am glad to see that they are big paintings, almost frescoes. I see him kneeling on the floor, I imagine the physical vehemence and the inner passion. Here one, a painter, embodies his existence. I perceive it as both threatened and a threat.
Cuts, carvings, traces, scars. Yes, scars. Flowers of evil? Screams of beauty? Lust and torture, pain and pleasure. Banished nervousness, modelled high tension. Painting pervaded by current. Vital current, blood flow, heartbeat. Grooves, scratches. The inner structure contains the “all over“ and vice versa. In search of something comparable, perplexed, my thoughts go to Dubuffet.
It is strange, but Matisse also appears. And a reference to Schiele? Perplexed: is it useful?
“After silence” banks are broken, the syzygial wave bursts into the frame, unstoppable. But the delicacy of colours and of their task, as well as desperation and chaos remain in a balance that by itself defines this art.
Crucifixion and ascent to heaven. Brutality and lucid correspondence, this painter and this painting suffer and jubilant.
It happened rarely have I have admired this kind of painting, which rushes and at the same time involves the observer. A torture and a grace.
An existential expression. Contraint.
But also, redemption.
What courage, dear unknown Bruno Pinto. “Heaven! Take off your hat! I’m leaving! “. An Italian Majakovskij.
From the guitar with broken strings murmurs the music."
Guido Magnaguagno, in Cat. Di fronte e attraverso. Antologica di Bruno Pinto, edited by Pietro Bellasi e Giampiero Giacomini, with contributions by Bruno Corà, Remo Bodei, Claudio Cerritelli, Marco Meneguzzo, Norbert Nobis, Dieter Ronte, Mazzotta, Milan 2005, cit., p. 49.