Paolo Fidanzi - White Shadows

Paolo Fidanzi was born in Pomarance (Pisa) in 1957. He is a medical psychologist and psychotherapist. He studied childhood autism for several years and worked with Michele Zappella in Siena. In 1982, he published his first book of poetry, "Il Desiderio di Vivere," published by Gabrieli Roma. Also in Siena, he co-founded the magazine "La Collina," published by the Collettivo Arci poesia in the 1980s. Collaborators included F. Fortini, V. Magrelli, M. Luzi, Milo de Angelis, O. Macrì, Attilio Lolini, and U. Piersanti. In the 1990s, as Councilor for Culture for the Municipality of Pomarance, he co-founded and financed the poetry journal "Il Sillabario," which was published as a supplement to the magazine "la Comunità di Pomarance." Reluctant to interpret his work, Paolo Fidanzi is a master of color, playing on the dialogue between light and heat, the juxtaposition of sign and void, and has a vast body of work that encompasses figuration and nonlinear abstract painting. References to post-expressionism and futurism, echoes of pop art, and references to informal abstraction characterize his pictorial research, which ranges from figurative to abstract works, from views of olive trees to symbolic still lifes. In his paintings, dimensionality can be autonomous, perspective alienating, and colors cloaked in melancholic white. Paolo Fidanzi says of his art ... "It is difficult to explain what poetry is, if not downright impossible. All that remains is to express one's idea in one go, intuitively, as if it were poetry when one feels the urgency. Not a language but a concentrated, zipped synthesis of events that explode in a melting pot of thoughts and colors, musical notes and geometric figures. It is a good wind of welcome and authentic rejection. A series of visual and auditory "panels" that enter the human cognitive system and transform it, creating from the whole a particular rhythm and path of meaning. An above-average listening that does justice to everyone for the social forgetfulness, the behavioral distortions that corrupt human goodness and transform it into intellectual dishonesty. Poetry (and painting) can be a small water bomb, even if artificially created, that shakes the individual from torpor and indifference, and takes on the role of the blow to the head that a good reading must administer to the unwary reader, as Kafka tells us."

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