Permanents Expo:

Art Studio Tessaro
Vicenza (I)

TESSARO's Study
Rovigno (HR)

M.F.F. Gallery
S.Paule de Vence (F)

GOT Gallery
Barbizon (F)

FORTIN Gallery
Paris (F)

CASTIGLIONE Gallery
Paris (F)

Introduction
The courage of a Sculptor
of Paolo Rizzi

The courage to compare himself with the great sculpture of the past does not lack in Vittorio Tessaro.
It is a sign of our time. Today’s artists (the less conformist ones) no longer want to be imprisoned in stylistic rules and to look for language newness at any price.
They want to be free. And for them freedom means to be confronted, day by day, with the phenomenal reality of the world: picking one segment of it, reducing it to its own instinctive quality, investigating it by themselves, giving it his own interpretation. In short: to be himself. And all that at the risk lo endure even heavy comparisons. In order to reach this aim, Tessaro has studied deeply the techniques that are native to sculpture. This appeared to him essential from the beginning.
The acquaintance of the modeling instruments has allowed him to begin, by himself a sort of long and patient battle with the formal shape, and this has meant lo ignore celebrated models of the past: to ignore them in order not lo let them overwhelm him. It is a fact: the danger is often a culture excess, of which many contemporary artists, above all young, are imbued.
Tessaro instead just followed his own instinct; and he did it after due consideration. Here the two fundamental topics of its plastic speech: the naked and the animals.
Tessaro has faced them with absolute genuineness and without pretences. Above all for the animals - bulls and horses - he felt him-self able to transfer his gestural energy, his inner primary force. Shaking his fingers; quick stick blows; nearly an assault to the material. The result is the creation of master pieces: bronzes and bronzetti loaded to the maximum with immediate dynamism.
Here the example has been, also if veiled, of master like Murer and Messina; but it was a matter, more that other, of consonance, of divergence, not of mutual exchange. Have a look at some works: the great terracotta quivering horse head of 1991, a rearing horse of noble pride (1990), some bulls that sniff the air or jump with sudden start.
With the human figures and above all with the feminine nudes, the reasoning for Tessaro has been more complex. It is known: there are factors involved that change from the expressionistic torment to erotism, from the realistic harsness lo the soft sinuosity, from the harmony of the curves lo the muscular evidence, implying emotions and feelings of the artist: therefore his state of mind.
Tessaro hates the acronyms, the clichés: he does not want, as it was said, neither to join the troop, nor lo be made prisoner of rules.
His path in time is however indicative of an evolution, that is one that stretches to a contempority between shape and expression, that is between plastic modulation and quality of the feeling.
In the Peasant of 1979, like in the Scream of the following year, a realistic maceration forced lo
the limit of the expressionism still prevails: that is a typically popular humus.
Then with the years passing by the search for balance has been developed, the artist remaining always involved by states of mmd, emotions, psychological impacts and also from erotic attractions, however from the desire of giving the sculpture not only a physical vibration.
In so far we observe the passage from an elegant Natasa 1993 lo Maternity (1992) modeled with sense of natural affection to some small elegant and also not linear nudes, or lo a crouched male nude that is far more than a study of anatomical posture. The expressive range is wide, as infinite is the emotional sphere of the artist. Naturally the road ahead is long and He knows it. But he is also aware that an inner force is guiding him. Now the technical training has become a ductile instrument for still more important goals.
There is no more fear (that the young artists often have) of letting themselves be overwhelmed from the stylistic lessons of the famous ones. The past does not have to preclude ambitious goals. The important thing is lo investigate what the instinct is dictating from inside.