Patience is not enough. Indeed, in patience one can get lost. Gastone Cecconello's works - the polymaths, the sculptures, the large paintings - infinite thoughts suggest, minus what the author has spent patience on: energy, imagination, bravur a, controlled fury, yes, but not patience, in fact everything he did seems candied by a thunderbolt, burned in the time of a short fuse. These drawings ,
In 1999 I asked a question to Tullio Regge, who covered Einstein's chair at Princeton for 15 years, about the misunderstanding of the universe, and he replied that man is a finite entity and lives in an infinite cosmos. Gastone Cecconello Gastone Cecconello. At the origins of the myth
Gastone Cecconello's Questions. by Renzo Margonari in Style Art no. 76, March 2004 Gastone Cecconello founded his artistic career in the 1960s. Until 1990 he could consider himself a painter assimilated into the ranks of those "abstract naturalists" dear especially to Francesco Arcangeli, and whose aesthetic expressions were included in an arc of experience, between figuration and informal, ranging from Ennio Borlotti to Pietro
Renzo Margonari, 2004 Gastone Cecconello's most intriguing works seem to be those of the "Cassette" cycle, beginning in 1995, whose meaning was announced by earlier works but becomes more explicitly expressed. Each of these boxes, which open like cases, contains a palette at the top and a face mask at the bottom. Each is differently treated chromatically and materially with refined painterly taste. For every
The polymateric compositions displayed in this exhibition - of which they form the backbone, though not exclusively - exemplify the main expression of Gastone Cecconello's art. Angelo Giardino 2003 Notes on polymaths An educated painter, in devising his assemblages he has not abandoned painting, but has made it one of the means to be employed in a quest that skirts the thresholds of the
Angelo Gilardino Eos Gallery exhibition catalog 1995 The work of an artist of such generous inspiration, overflowing energy and felicitous hand as Gastone Cecconello offers no possibility of convenient subdivisions into periods or sections. A native of Vercelli born in 1942, he began painting at a very early age and, after training at the local Institute of Fine Arts (the forge of all the
Bruno Pozzato From the catalog for the solo exhibition in Salussola 1996 Gastone Cecconello no longer needs any expressive deformation to be himself. Behind him presses an experience gained in the shadow of the great masters of modernity: from Picasso to Duchamp, from Fontana to Bacon. Today in Cecconello there is something that, within this homologated language (which has itself become "traditional"), characterizes him in
Salvatore Maugeri 1991 One element that is certainly indicative of Gastone Cecconello's personality can be found right from the evidence of his debut, and that is that of conceiving plastic expression capable of absorbing the element proper to painting. The two distinct forms of artistic invention can coexist, coexist, and not only where one imposes on the other its explicit mode of being and
Angelo Gilardino Catalog of the exhibition at "La Finestrella" gallery, 1990. Cecconello comes from afar, and he was certainly not trained in the studios of Piedmontese painters: an inheritance from the local tradition may have flowed obliquely during his training at the Institute of Fine Arts in Vercelli (the city where the artist was born in 1942): there Renzo Roncarolo - a favorite pupil
The Place of Beauty. The hamlet of Bonda di Mezzana Mortigliengo belongs to that conspicuous Biella geography of ascetic places of untamed charm. Six hundred meters above sea level, perched on a panoramic terrace with three orders of rural settlements overlooking the Cossatese baraggia from the southern slopes of the Mosso Valley, the tiny hamlet has an ancient and a modern history. The ancient one
