If art, as Adorno rightly says, is magic freed from the lie of being truth, Paolo Rizzi’s paintings immediately hit the center. The art of this young man shows a dedication to the cause and a not indifferent surrender. His adherence to reality is surprising, as surprising is his metaphor with such a violently lyrical charge the evils but also the poetic yearning of this declining civilization. Its colors are an ongoing challenge. It almost seems that Paolo Rizzi wants to slow down and reduce the violence of the consumer civilization with his tenderly determined sign. His challenge is therefore to make art with the anti-artistic, to make poetry with the impoetic. A dynamic rendering, internal to the solutions of the image, creates continuous references to his declared or simply evoked masters, ranging from a certain primitivism of the word that refers Lèger, Giacometti but above all Roy Lichtenstein; However, we cannot forget the graffiti artist Keith Haring and the cartoonist Andrea Pazienza. In short, it is fair to say that Paolo Rizzi wants to unite sublime and everyday, material and sign, symbol and dream, mixing, amalgamating spurious elements. And the operation succeeds, thus giving rise to works of great strength but also of great evocation. Our young artist plays on attracting opposites. It is in fact tremendously enticed by the abyss of color but it is also profoundly rejected, and it is there that it plays with the clear, decisive, graphic sign.
In him there is a solid, but at the same time transparent, reality of the dream, a deep desire to change living for the better, and this is one of the most powerful thrusts of art. Paolo Rizzi’s work exudes a desire for self-help that spreads like ink on blotting paper. And this places him among those who, instead of being possessed by disorientation, use it to make art.