www.antoniociccone.com
Feb. 29, 2008

 Reflections on Antonio Ciccone's Avery Series

One of the things that strikes me most about Antonio Ciccone's portrait compositions is that his subjects appear so consapevoli. They are confident of who they are, what motivates them and that this awareness emanates from a spiritual source.

Ciccone has created an inspired race! His subjects are both elegant and full of strength. They move in a spacious realm, at times through suggested architectural structures. There are openings which imply more that mere physical location - they become a metaphysical experience, an invitation to visit or enter a "thought" zone. An open door, a hole, a triangle, a window exemplify these invitations - at times an apertura created by parallel lines may act as a sort of "sliding door"...to deeper contemplation.

Antonio's subjects are refined, statuesque, dignitosi, energetic...there is nothing that suggests they would be without purpose or direction, even as they assume a more relaxed contemplative stance. One perceives contemplation and deep thought as a very real and essential part of Ciccone's expression.

There is music in his work reminiscent of the great composers...a symphony in which each component "performs" and has its precise placing...minute carbon pencil caresses on the infinite white of the paper - strokes that seem to vibrate as they "compose" in unison the given concept.

Creativity is a basic element in his work...observe little Clark, the child at play with the sun on his breast (Clark 5/China ink)...note his "toys" and the apparent skill with which he builds - blocks become houses but they don't seem to hold his attention as much as his rattles - what has he discovered in the toys? What power are they giving him? Creative power. In his child's hands they become as mighty instruments. His industriousness and total absorption are indicative of thought that has a spiritual source (Clark 15/China ink).

The little painter Aves, precious as a pearl, a new-blown flower...she receives her inspiration and appears abstracted, listening and as though "driven" - so totally absorbed is she, her brush seems to move of its own accord (Aves II/charcoal).

CVC - Feb. 29, 2008

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