Aldo Cottonaro introduces Biagio Schembari
Biagio Schembari’s art is affirmative, heavily affirmative: inside it, there is a rediscovery of tradition, together with twentieth century’s techniques such as colours used by Fiume and Guttuso:
a Southern Europe which evokes Spain and Sicily – that of a Mediterranean ancient and modern civilization at the same time, where one can clearly see what isn't that evident: there is no Helios - no Sun - but there is light, that resurrection's meridian which is in conflict with the shadows of a sunset that never sets.
Therefore, we have said that this is an affirmative and consolidating art: corpulent women and men, spherical figures, homologous to the unreal country in which they live, proposed as a story told from a perspective that gets rid of time in an eternal present.
If Guttuso's and Fiume's art – from the post-war reconstruction to the so-called economic boom - was an art with strong political implications, B. Schembari’s art transcends it and finds a link back to the re-ligio, that is to say, religion: the pictorial image, in its dense blazing unreality, illuminates the mystery, taking away the aura of myth and legend, realizing it in a mystical ritual that vibrates with emotion and devotion. Human beings are here, inside in these volumes of four dimensions which overlap vertically, and therefore suspended between high and low, light and dark; between the extreme terms of birth and death, yes, but still alive and excited, where light dominates the shadows and the sun does not set.