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BEPPE PALOMBA – CRITICO D’ARTE
A kind of magic realism that evokes smells, noises, buzzes of a humanity that populates that hour between reality and imagination to the hot wetness of a bar at that time suspended when the night is not yet master of the destinies of the city. Beyond technical skills and pictorial, with one foot in the territory of poetry.

PROF.SSA CANDIDA CICCONE
Sergio Amatruda, painter from Foggia, works inspired ,in our opinion, to the current of Pop Art. As Andy Warol, loves to represent in his work the subject of the urban landscape, not in its “quality” daily, but the use made of it and consumption of objects “popular”, the usual, familiar, so familiar to return to objects themselves a kind of visibility and at the same time, building a kind of mythology of the banal, with its reference to the absence of the principle of reality.
Expresses a kind of human detachment , a frost almost playing on the range of browns, blacks and ocher, warm colors that give life to cold form undifferentiated, without character, approved in their structure emerged to the imprinting “related industry chain mounting. Cars, buses, blinding neon signs are the favorite subjects that the artist observed with detachment and imposing its own look, which in turn does not want to be involved if not instrumentally object.
Sergio Amatruda, use the object, but you do not captivated by her beauty, by doing so also his art becomes a commodity in use, almost in analogy with the world “things” that make up our usual landscape. Operation which empties content models also “high” culture, including the general pattern of the art and the artist. The everything to obtain a desired perception “average” of reality.
Like his colleagues overseas, Sergio Amatruda, doesn’t speak about objects or people but of images, simulacra of things and actually exacerbates the image, the dispossessed of any reference, erasing history, feelings, thoughts and all for present it again in the form of pure image of consumption.
In the language of ‘American ethics, which belongs to the Anglo-Saxon pragmatism, mixed Puritan idea of the object, understood as a concrete expression of the myth of work, there is no place for a distinction between fine arts and applied arts, in this context, Andy Warol appeared with its novelty, he chose as subjects of his work myths of mass such as Marilyn Monroe, Liz Taylor, Jackie Kennedy and did so of his own work a myth of mass, consistent with the possibilities of a medium like art itself.
The story told by the paintings of our artist is that of unbridled consumerism, which came to Europe from America in the 60s and which we Italic us, creating our “economic boom” and not considering that the operation needed choices political and economic precise, they had to take into account the different positions and divergent. The misinterpretation of this chimera was widely described by Pier Paolo Pasolini in superb pages of “Writings Corsairs” in reference to “approval” culture made by the industrial civilization experienced existentially. ”
The artist, in the manner of a pathologist, analyzes each particular object, the body to be cut in its entirety is the city, or rather the metropolis, in a word, the disease that afflicts humans. Urban centers and peripheries are visited by the artist with detachment and mainly, in a night vision, wherever machines that eat space usurping the man, who desperately seeks a zone of survival, urban space manipulated artfully-so to speak – It is used only and exclusively to the resolution of situations pragmatic.
“No one is indispensable, everyone is replaceable” so the adage goes , which led to the dehumanization of the man who now invests. The eye of “Big Brother” of Bradbury monitors and controls every move homunculus deprived of his dignity and reduced in number, however, forced to be foolish servant of power, which in addition to its usual work of depersonalization of the masses, try to money laundering of mafia and his followers no longer have the “hat” and “shotgun”, but graduating from Oxford University and, between a thing and the other, you care to leave thousands of people in jail awaiting trial, or forget forceps in the bellies of the sick, without neglecting to make electric shocks to the so-called “mad” or, to let them die burned alive in their cage beds, in the meantime, a bit ‘of torture for dissidents and a beautiful death penalty Live not take anyone off. After polluted seas and mountains and have sparked the ‘atom, for good measure, the men who rule the machine’s power and their servants are organized for the summer. Travel sex tourism, tant ‘is that with just a few dollars you buy a child.
The paintings of Sergio Amatruda have this subtitle, are painted mainly oil, average size of 100×80 space that is sufficient to describe the horror. Andy Warol the period of “Disasters and Accidents” would have been happy with him. Beyond hunger in the world, Africa is dying of AIDS in Latin America that is dying and nothing else, pedophiles who want to be in the party, hopefully someone like Montag’s “Fahrenheit 451” by Ray Bradbury, rebels and store the texts of ancient wisdom, of course prohibited from power, and knows how to preserve for humanity’s future, if ever there will be a worthy of the name, the Fire of Knowledge. It ‘an ending too obvious?