Le Quattro Stagioni (The Four Seasons)

Palazzo Panichi, Pietrasanta

Le Quattro Stagioni (The Four Seasons) is an itinerant project, exhibited for the first time in 2015 at Palazzo Panichi in Pietrasanta.

From Sarah Venturini’s article for Artribune magazine:
Desire creates dependence, and dependence leads to thoughts of death. It is not your fault, “says the teacher to the young student, aware of the fact that everyone has the seed of desire, and in everyone’s life cycle there is at least one crucial opportunity to confront with it. In the magical ellipse painted by Kim Ki-duk, with the film “Spring, Summer, Autumn, Winter … And again Spring”, it seems you may encounter one of these moments at every season of life. Exactly as in this work by Riccardo Prosperi aka Simafra. Four 4×3 meter monumental canvases, all made with natural elements, introduced and completed by an installation and a video. A project devoted to cyclicity, including that of pain, which, behind the screen of a manierist and reassuring circular narrative, hides a conciliatory apologue only in a appearance, revealing rather a disconsolate and/or consoling reflection on the mystery of the eternal precariousness of the human condition.

Sarah Venturini 

Gianfigliazzi Bonaparte Palace, Florence

In collaboration with Galleria ZetaEffe, Florence

The great canvases depicting the four seasons are identified as places of a path that constantly moves between the outside and the inside. The artist joins metaphorically, through the thread of his art, the flaws of reality to his own introspective evolution. The paintings are the voice of a silent dialogue between the painter’s self and the cyclical evolution of nature that manifests itself through the passing of the seasons. Art physicizes this correspondence, giving visually what the artist perceives internally. Every change therefore has its logical foundation, every evolution has its own explanation that resides in the deep sense of nature. In this way existence is a consciousness that manifests itself as constantly becoming, able to face the void as a place of a near reinassence, waiting as the notion that encapsulates the next encounter. That is why every chaos that represents the basis of the formation of inner worlds is the fertile ground in which to grow their emotional life. The death and resurrection of the sensible soul draw the pure linearity of a circle (the dominant element in the paintings), where the end is the beginning of the next path, as an eternal condition that binds us to ourselves, to the earth and to the men who inhabit it.

Sonia Zampini – Director of Galleria ZetaEffe