In “Far away, far away”, a father with his son on his shoulders is portrayed from the back, in a three quarters angle to show a shade of recognisable wonder in the anonymity  of both subjects crossing  the unfocused visual field –lacking a well-defined background- from right to left towards an unspecified and absent focal point. The observer, reading the canvas from right to left – even after being aware of an irresistible attraction towards the left, must overcome an irregular upstream resistance, an imbalance that must be restored in order for equilibrium to prevail.
The very feelings of asymmetry, instability, surprise and astonishment are elaborated in a series of paintings that portray random groups of subjects – placed in a foreground, without depth of field, (almost a telephoto focal length), through an interaction of movements and tensions directed from the top down – while they point at something not specific, with their gazes to the sky, as attracted by an unintentional swaying phenomenon. The observer involuntarily takes part in a metaphysical instant (looking up at the sky) without a geographical reference, sharing an unlikely layout where gestures and manners are familiar, and everything remains suspended in the emptiness of an absence, almost as a suspension of judgement, or era, as advanced by the Platonic school, which consisted in basing one’s approval on the fact that an ideal truth matched each sensitive phenomenon or arbitrary thought, rather than on phenomenon (which were indisputable).
In another occasion, three African subjects sit on a pier, observing the horizon, portrayed from a lateral asymmetry, shown in the irregular weight distribution and in the dynamic vector from left to right in the visual field. The absence of the subjects’ view to the right side of the painting results in an indiscernible feeling of a slow but persistent suspended time. The observer cannot define the motivational process nor can he participate to the search for balance: the unknown point of view that the three Africans are contemplating suggests an illusory depth to the painting, a sense of permanent and empty wait, the immanence that does not reach beyond the sphere of another reality, thus does not exist as separated and independent from another reality, but only linked to it in a mutual co-existence relationship.
The relationship between signifier and signified happens in a space where none of the figures guarantee their contact. The awareness of the lack of spatial depth in many of the artist’s works, and specially his techniques on perspective, attract the observer’s gaze and take it to the illusory depth of the painting, therefore increasing the weight of one of the areas.
Piovosi’s

Piovosi’s subjects represent not only the physical occupancy within the frame, but also their own internal occupation: the sense of space and time, the emotional perspective on things is highly determined by the metaphysic paradigm of non-place, where the observer – confronted with seemingly common spaces- reinterprets them as new and different, in a state of duplicity, outwardness and affinity. We are participants in places of language and thought that go from stereotype to metaphysic space: where are we? Who are we? Who is narrating the story? Who sees things? We are in a dreamlike space, in a world where we can see only theoretically, however being allowed to use exclusively what remains visible from a precise point.
Oscar Piovosi takes us to the paradox of the knowledge without subject, the observation without observer and observing without a set point of view, a “here and now” totally detached from life and from Lebenswelt. As Husserl used to say, we need to go back to Lebenswelt as the essential ground for all our procedures of world knowledge”

Italy Art and Commerce New York
2016