THE FORCE OF NATURE

Fantastic, fanciful, science-fictional, imaginative, inventive, bizarre, whim-

sical, eccentric, surrealistic. These adjectives flow out fluently while

observing Amadio's work. His inventiveness is also fluent as is the sign

resulting from it and which is decisively traced on the plane. It is the force

of nature which liberates without any limits or rules, envelops and absorbs

the man and the artist, charming him to the point of making him act as

intermediary, as his own reflection.

Here we can see the sign: playful, vibrant, festive, continuous and lyrical;

the colour with its many contrasts which explode from the work as if it has

reached a point of happiness; then all at once, it is the power of nature

which oppresses, ready to suddenly break out with a proliferation of

abstract and figurative micro and macro forms, and take on exciting yet

neglected valences, an axle restlessness.
The imagionary advances, almost to stimulate the representation of wha-

tever is in the depth of the bowels of the earth and in ourselves as their

fruit. It is life, bursting out with its wrathful energy which allows the artist's

work to proliferate.

Amadio equally expresses himself both in his painting and in engraving.

He prefers the dry point for its immediacy in his sculptures, ceramics,

embossment and in his artist's books.

Everything which gives access to the description of images fascinates

him and pushes him into continuous research and experimentation.

The form, however, already has its own configuration in nature. All that is

needed is to grasp the essence and shape it without any strain. This is

what, apparently, he wants to say when he sculpts river stones which

have already been smoothed by the water. The artist seems like he wants

to help nature to complete its work, following the traces already marked.
He complies with the matter. He does not violate it because he is convin-

ced that if you observe what is already there, you can obtain a source of

inspiration. He has the same attitude in regards to his wooden sculptures

when he creates plastic forms, almost completely following the veins in

the wood.

In his paintings and dry points, Amadio expresses himself through an

alphabet of signs, which at first is not very clear because it is concealed

by his great expressive freedom and by the immediacy of his gestures.
The forms of his pictorial language, which can be clearly seen by a care-

ful observer, are very dear to him.They are a sort of recurrent gerogliphics

sometimes similar to the expression of ancestral fables.

There is a rhythm andan explosion of the form and colour in some of his

works which draws him close, perhaps only by chance, to the experience

of the great master, Andrè Masson. But Amadio's painting is always

mediated by a playful and solar vision of life which allows us to see his

continuous desire to grow, search and play with the forms, the colours

and the matters with a never-ending will to experiment.

LORENZO BONINI