To describe the painting of Massimo Zonari has been used several times the word “visceral”: very appropriate definition because it refers to an artist for whom – as he wrote in one of his works – “the brush is like an extension of your hands, my emotions, my stomach. “

Its coming from the graphic comes in an open sign, curvy, instinctive, yet balanced, “turned on” by the color of fire. The coloring strong, unbridled, sometimes almost violent and sometimes interspersed with moments of breathing played on more subtle tones originates not only and not so much by a precise and deliberate stylistic choice because of vital urgency that has nothing to intellectualism or school.

Beyond the expression power is glimpsed in short, a genuine power of perception. In painting of Massimo Zonari the torment, the anxiety like a watermark also travel the most seemingly solar representations. There is always a time when the color becomes more violent, the more nervous brushstrokes; in which a burning and sincere vitality breaks every even fragile conceptual scheme to be resolved on a journey into the innermost part of himself, the source of instincts and emotions, face to face with his own ghosts and obsessions.

And speaking of recurring themes, the female body is really one of the reasons pivotal work of Zonari, as well as the one from which it draws “Crystal Flower” source, here in conjunction with his allegorical sign, the flower, in a game of overlapping, which hides and enhances its presence. And it is always a sensual body, headless, decomposed, dissolved in the inaccurate sum of its parts, sometimes recognizable only in the curve of a back, the roundness of a breast or in the shadow of a profile. The psychological tension springs from which all this is the fuel that feeds, inexhaustible, the creativity of Massimo Zonari and his art is not mediated by intellectualized superstructures nor defined on the basis of academy categories.