"[… ] I enter his study: large papers, black and white.
Sedimentation. I do not understand how they are made - the paper seems made of boards, of plaster, of wall. The paper is heavy and swallows “objects” that I no longer know perhaps because they are too well known. Still Life ? [… ].
Everything is horizontal as narrative but vertical as totemic icon, also because carved from multiple points of view. Everything opaque and squeaky. [… ]
Painting is painting, it is a 'thing', it is an object and you can only encounter it randomly if obsessively sought after. Painting wants to be unearthed and revealed even without its own knowledge.
The exhibition will not be a show, an ephemeral assembly and alignment of works, but will take place as a prolongation and enlargement of the studio and the atelier, bringing its guilt, mistakes, deletions, smells and pains.
The visitor will understand that the painter is a wise old wandering hermit who returns humble, 'insecure', and 'unknown' at the first brush stroke. Perhaps that visitor will find no novelty in form, no future acceleration; indeed, the images have all already happened in the history of painting. The painter never invents a new stone, a new landscape. There is no neo-stone or post-landscape or a thinning of history in a still life.
You make the stone; you plunge yourself in your own landscape with your own nature that highlights your own end. Painting is wonderful for this: you always start first because you are the first to have caressed and touched that stone, even if created and recreated by others several times.
P.S. I forgot to mention that I was in Bruno Pinto’s studio… but what matters are the works, their desire, their need to be painting, and not the surnames, names, cataloguing and homologations because a painter never instrumentalizes another painter, does not exhibit fascist attitudes by quarantining him or trapping him on his own path. Only painting is central, the artist can also be lateral and must be proud of this."
Concetto Pozzati, in Cat. Bruno Pinto. Opere dal 1953 al 1987, a cura di Claudio Cerritelli, introduction by Filippo Sassoli dè Bianchi, with notes by Enrico Cesare Gori, Concetto Pozzati, Luciano Nanni, Bruno Bandini, Vezio Ruggeri, Giuseppe Dossetti, Bruno Pinto. Nuova Alfa Editoriale, 1987 cit., p. 42