Antonio Zucchiatti.

Something about me: I was born in Udine on 19 December 1970.

My childhood passes quickly, fortunately I live in a family that does not make me miss anything, I have a thousand experiences, even important in the sports field, but I do not take advantage of them, I enter the world of work and over the years I often hear that I am a " artistoide "I never gave weight to this word until the day I met Silvano, a well-known Friulian artist, I carefully admire his art and his techniques, the whole context fascinates me a lot and I decide to try to make the colors that I always see in my thoughts, something succeeds something not, but I am happy to get back into the game with what perhaps is my true passion my future, my dream and to be able to convey to everyone what I feel, my ideas, my emotions.

I am the one who knocks on your door and timidly asks permission to move you. Man is composed of forms, nature is composed of forms, the world is composed of forms, the universe is composed of forms, I look inside I see, I feel them, they create an emotion in me.



Antonio Zucchiatti: the energy of the sign of the material of color.

With enthusiasm and unrestrained Antonio Zucchiatti lets himself go in his pictorial practice to the frenetic impulse, sometimes even anarchic, thus externalizing an extraordinary energetic charge linguistically formulated through the gesture, the color, the sign, the material, the Babelic intertwining, the daring imaginative plant. A painting, therefore, of him, extremely dynamic with relevant propensities to transgression and with really unusual visual clamors especially in certain works by him where the construction is more complex and magmatic. The bright, expressionistic, flamboyant, passionate beyond words contributes to the dynamism. His reds seem to have come out of Vulcan's forge and thrown irreverently on the canvas.

However, there are works in which the structure becomes simple and linear, marked by spatiality and a minimalist spirit: then we are faced with an admirable test of lyrical abstractionism. It is possible to find in this kind of works, which in my opinion are extraordinary, a perfect interaction between informal gestures and the rational measure of space and light. I quote the work "The war of the kites", an authentic jewel. Undoubtedly, the artist has fully introjected the remarkable heritage of informal poetics which underlies that freedom of thought originating the culture of the contemporary era that we know is gripped by doubt and mobility.

In this sense we have in him references to great Italian and international protagonists of Art Autre, such as Burri, Di Ruggiero, Pollock, Hartung, just to mention a few names, but not of epigonism in question, but of personal reflection on a fundamental page of art of the twentieth century, born in the intimacy of his studio.

But let's come to that series of works in which there is a vague iconic reference, namely the projections of humanoid neumes sometimes in dialogue with each other. Perhaps an attraction for the plastic-visionary dimension that should be read bearing in mind the psychological climate of the author who certainly does not lack the will to communicate with the public. Their arrangement on the surface in an extremely natural way is a sign of a very controlled conception of the compositions, as is the imagination at the service of a playful availability very evident in him. In this regard, see the 2013 suite of paintings dedicated to Carnival, and also works on the theme of encounter and dialogue. The game! Zucchiatti loves to play and for him painting is fun: only this consideration explains the use of chance which always plays a decisive role in informal poetics despite the artist's efforts to use all the tools to direct him towards some structural rationality.

It is not possible to close this brief critical testimony of mine without highlighting the luministic factor in the work of Antonio Zucchiatti. A light scattered by flashes, by irregular gashes that create a full / empty, shadow / darkness dialectic; a light mostly antithetical to the natural one to the evening or auroral one. It is the light that inflames, heats, burns matter in an attempt to spiritualize it in a secular martyrdom.

Leo Strozzieri 2015.

The emotions of Antonio Zucchiatti are precisely such and as such must be respected and emphasized.

The author, encouraged by some critical successes, for which he also received important achievements and awards, flattered by the public who recently visited his solo exhibition in the precious container of Santa Maria dei Battuti in Cividaledel Friuli, in the province of Udine, now collects ideas and questions himself and his production.

It is right that this should happen. And it is right that he grasps the awareness of living a dense and rich moment of his creative life, a moment in which he is giving a lot of himself and his emotions to him.

Emotions, as the word itself says, often arise from memory, from the sudden emergence of a state of mind, from a movement of the heart.

Emotions are essentially arational, so they do not arise from a rationalistic reflection, but from an approach.

Nevertheless, Zucchiatti's emotions are profound, sedimentation of himself and not casual representation.

So in his works the color is not casual, even if we must also take into account that component of inspiration and sudden illumination, which in any case is not improvisation, but belonging ... precisely to the emotional field.

Memories in this context play their role, Zucchiatti's painting is also a painting of remembrance, episodes linked to one's life, even a sports competition, tensions, loneliness and melancholy but also joy and happy belonging to the history of humanity are emotions. which he collects in reds, whites and blacks, in the strong traces and in the development of elaborate chromatisms and an abstract reference - on the historical-artistic side.

We can see the perception of abstract expressionism in much of its pictorial component and it stood out in all its luminous fragrance in the exhibition in Cividale del Friuli, a small medieval center a few kilometers from Venice where the exhibition was set up and expressed a sort of contrast: the historical reality of the medieval town on the one hand and the vastness of the design - twentieth-century color on the other.

For Zucchiatti, painting is also a vision of the world in its limitations and relative spatiality, which opposes the universe and immeasurable vastness. Looking at the universe, the author feels a colored fragment, a small fiber from Garret that must be in harmony with it in order to cling to matter, that is, the possibility of survival.

An enchanted emotion therefore that of Zucchiatti, who is amazed in front of the world and even more in front of the immeasurable, a shipwreck in color, a pleasant shipwreck - Giacomo Leopardi would write - in this immense sea in time and space.

Prof. Vito Sutto

On the threshold of the Church of Santa Maria dei Battuti, on the Devil's Bridge in Cividale, the visitor is captivated by the emotion aroused by the internal splendor that instantly thaws him from the winter cold.

More than the blow of the radiator can the luminescence, that harmonious melange between the lighting of the Gallery and the intrinsic brilliance given off by the paintings by Antonio Zucchiatti on display from 20 January to 5 February 2012.

Precisely that light that the painter was able to create, as well as the consistency and conformation of the material he was able to shape, constitute the essential components of his art which can only be enjoyed live!

It is an enchantment to wander around the large naves, between the sobriety of the empty space enhanced by the elegance of the arches and the paintings on the walls. And, stopping to observe them one by one, you feel the pleasure of investigating a mystery, of which the painter has drawn enigmatic clues and, in that fairy atmosphere, get lost and find yourself in every story suggested by the painting ...

Those who cannot escape the habit of narrative thinking succumb to the temptation to connect abstract representations as pieces of a puzzle to weave a story.

The stimuli are not lacking, if you choose "Without end" at the beginning of the narrative sequence, you can place, among those mosaic tiles, Pangea, the Paleozoic Earth, where "The origins" of the "I" started, which As he progressed, he gradually acquired more knowledge, recognizing sometimes incompatible needs and desires.

The Ego aware of being "Alone" started "In search of happiness", of "A new life", but when it was deluded that it had reached it "At the Athens market", emblem of civil harmony, beauty and prosperity, he had discovered that human behaviors are unstable, ambiguous and contradictory, resulting in opposing expressions poised between the instinct of conservation and aggression. Which of the two would have prevailed?

"The devil is optimistic if he believes he is making men worse" and "The world is crying" sanction the failure of the Ideal! Is being well together really a Utopia?

Those who oppose the sad ending have the right to mess up the pieces and start a new story all over again. The painter's signs, essential and arcane, favor infinite suggestions: lines (curved, round, broken or scratchy), men (calm, altered, agitated, tormented or distorted), spots (lively or gloomy), every sign plays a role!

The rigor of the compositions, even where black stands out, to connote the price of having lived by reflecting its bitterness, is never austere, rather elegant and complete, such as to suggest a sense of mastery, of control of the subject matter, whatever it may have been. the nature of the passion that inspired her.

Perception strengthened by the solidity of full and bright colors, a tonic for the heart and for the mournfulness: even when it seems that you no longer know what to do, even if it seems that there is nothing more to be done, even if you were rushing in, the warning is to spread your wings and try to fly, a hope to always cultivate, in the knowledge that you could fail.

A hymn to balance and resistance, evoked in every single representation and repeated, like a refrain, by the entire sequence of compositions linked by the harmonious thread of a common imprint. The verses of Wislawa Szymborska eloquently seal the impressions that Zucchiatti's painting infuses on the viewer:

It splits in one blow into ruin and salvation, into fine and reward, into what has been and what will be.

In the middle of his body an abyss opens with two immediately alien banks.

On one death, on the other life.

Here the despair, there the trust.

If there is a scale, it has immobile plates.

If there is justice, here it is.

To die as much as necessary, without exceeding.

To be reborn as necessary from what has been saved.

Yes, we too know how to divide ourselves in two.

But only in body and interrupted whisper.

In body and poetry. On the one hand the throat, the rice on the other, a light laugh, already suffocated.

Here the heavy heart, there non omnis moriar *, only three little words, three feathers of a flight.

The abyss does not divide us. The abyss surrounds us. * I will not die entirely

Prof. Marica Pintacuda

The artist Antonio Zucchiatti aims at emotion, through vibrant colors and density of colors placed on the canvas as if they wanted to overflow it to enter the soul. Zucchiatti's poetic sensitivity leaves a personal imprint with works that catch the eye.

He walks the streets of a place full of life and leads us to the "Athens market" dominated by an intense blue sky that does not obscure the captivating beauty of the ancient streets that preserve the tastes of a past in the present.

The colors aim at the essence of human feeling and participation in universal pain, in fact in “the world cries” red and black are blurred and we know why.

Prof. Liliana Nobile

Total silence.

I'm alone in her show and disarmed in front of these emotions that slap me. Her face with the same intensity she used in throwing the material onto the canvas.

I found Burri, I found Pollock, I found the form in an attempt to break out of the prison of herself. She shakes hands with the abstract, thank you.

Giuseppe Parisi

Materiality and expressive force are the characteristics of Antonio Zucchiatti; the sign becomes a means of expression and the forms are as if engraved in the drafting of the material which maintains, when the work is finished, the glossy consistency and freshness as if it had just been spread still in the process of being modified, a further internal movement is given by the colors and the brushstrokes strongly contrasting with the black background.

But let's get to the themes, the meaning of each work is not immediately legible but still intuitive, the futuristic gestures allow us to represent themes of tragic topicality, this is how the tragedy of a crying world is given by the simplicity of the brushstrokes shiny with blood or tears, a symbolic representation and no less effective than the more defined one of "murder in the bronx" in which people stand out as indecipherable symbols made of blood against a shabby background of skyscrapers, the engraving gives strength and repetitiveness of the elements, the painting screams its despair.

Zucchiatti's painting becomes more and more essential in the brushstrokes often contrasting with the engraved signs, a world that only the painter can decipher and let us see through a unique and spectacular language that can strike anyone who places himself in front of a work of him.

Salvatore Russo



. Toppo Travesio villa Toppo "Arie Italiane"

. Villa De Claricini Dante Foundation 700 international art exhibition

. Venice "Extramoenia" Island of San Servolo

. Profabro Frisanco (PN) Art Encounters Palazzo Pognici

. Villa De Claricini Moimacco Foundation (UD) Dante 700 years after his death

. Venice Biennale 2021 Pomerium and Intramoenia Project


. Art Pordenone 2020

. Cologne Germany Italian cultural institute

. Venice Architecture Biennale August 2020


. Art Pordenone 2019

. Venice Biennale 1 work island of San Servolo

.Helsinki Finland collective at Sello bookshop

.Naples collective Church of San Severo al Pendino

.Villa Farsetti international art exhibition September

.Istanbul International Art Fair November


. Art Pordenone 2018

. Collective exhibition in Mostar April May 2018

. Collective exhibition Milan Casa-Museo Alda Merini 22 May - 6 June

. Povoletto Collective Exhibition 4 ways to say Totò 24-28 August

. 7th Biennale Villa Farsetti Venice 15 September 7 October

. Art Istanbul 2018 Collective November

. Collective exhibition at the Art-Time Gallery Udine Novembre


. Collective exhibition Palazzo dell'Ovo Naples 50 Years of Totò's death

. Collective Budapest Building former seat of the Hungarian Parliament

. Collective Villa Farsetti Venice from 1st July

. 4 Ways of making art Povoletto sala advise 25/29 August

. Istanbul Fair November 2017

. Arte Fiera Padova 10-13 November 2017

. Collective Stockholm Sweden November 2017 2016

. Collective exhibition at Villa Manin di Passariano Al Doge

. Personnel at the "IL RONCAL" Cividale del Friuli farm

. Pordenone Art Fair

. Collective exhibition at the City Hall of Stuttgart Germany


. staff at the church of Sant. Antonio Moimacco (UD)

. Participation with 4 works at Expo Milano exhibition in various pavilions

. Collective exhibition at Fabbrica Pensante Milano, merit award awarded with the patronage of the European community, municipality of Milan, Expo 2015, Milan Chamber of Commerce


. Collective exhibition at the Udine fair on the occasion of Ideanatale

. Collective exhibition at the church of S. Silvestro Papa Premariacco

. Collective at the same time 2 + 1 (various sites in central Udine)

. Collective City of Malborghetto (works in the streets of the town)


. Collective exhibition at the Udine fair on the occasion of Ideanatale

. Collective exhibition in the premises of the municipality of Campoformido

. Collective exhibition at the church of S. Silvestro Papa Premariacco

. Collective exhibition at the Paolo Ferrin Bugnins farm (UD)


. Personal exhibition at the church of Santa Maria dei Battuti in Cividale del Friuli (20 / 01-5 / 02)

. Collective exhibition at the "Art-Time" gallery in Udine August

. Mini personal caffe san marco Cividale del Friuli


. Participation with works in the presentation of the series of mystery books by the writer Raffaella Guerra "Friuli land of mysteries"

. Collective exhibition at the province of Gorizia (Sept-Nov)

. I win the artist of excellence award of the year from the italian painters register (apia)

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