Oscar Piovosi is a figurative painter. However, in his works he goes beyond the conceptual immobility of the subject: in each of his canvas there is a call to the metaphysic forms of existence, to the customary, to the habits from where he draws folklore instants, discovering common instants with the eyes of the attentive observer, which are invisible in nowadays routines, and are told by the artist in a pedagogical objective way that hides much more profound meanings.
Oscar figures are sharply trimmed, almost as Cézanne’s apples, the trim becomes the limits within which the figure exists and is perceived in a real sense, whereas other elements of the canvas implode on a background, hence strengthening the semantic identity of the figure. It is an identity that carries along the peculiarity of the subject, half showing a daily routine. “The travel” is the result of Piovisi’s last artistic and social research to deal with analytical and introspective issues. Issues that take place in the urban geography of streets, stations, airports, and human geometry, in which a side of the polyhedral elements becomes the friend: usually the smartphone, maybe something that is shown from above by the fingers of the depicted crowd. Not only poetically, the artist allows for the spectator’s fantasy to imagine a kite or a hang-glider, or else that the man carrying a child on his shoulders may represent a modern iconography of sacred motherhood.
This search for the absolute meaning is not important. However, it is important to become spectators of an invisible existence that we can look at in a metaphysic sense, beyond that finger showing the portrayed invisible subjects.