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Mico Mone – scultura, pittura

Mico Mone A-007660

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Duke perdorur të gjitha instrumentet, ngjyrën, baltën, mermerin, bronzin, Miço Mone kerkon dhe heton universin e pasioneve, të dashurisë, të frikës, të dëshirës e të shpresës. Legendat, perrallat antike dhe këto të perhershme janë ritmi i krijimtarisë, sepse për krijimtari bëhet fjale. Mone do të tregojë takimin e të perditëshmes me jetén dhe e bën me mjeshtëri të madhe: e bën rimbuluar me materie të re ( ngjyrë, baltë e mermer), emocionet e krijimeve me emocionet e aktualitetit.

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Critic
Mico Moné searches and explores, using color, clay and marble, the world of passions:
love, fear, desire, hope. The ancient fables become the rhythm of his works, for they are
made to narrate something. Moné tells the daily encounter with life, and he does it with
great skill: he covers the emotion of the memory with the excitement of the present, with
new materials (color, clay or marble).
His handwriting, that is his painting and his plastic, is strong and determined. It has
no regrets. The same hand, the same heart beat, looking for a stronger way to see the
thoughts and to be seen: that is, to discover, himself and his vision of the world.
Showing, in fact, is the point. It doesn't matter the references to the classics, that are
strongly radiated in his cultural and professional background: his hand has the freedom
of one who has seen so much and suffered so much.
So the references become essentially useless and harmful to the happy fruition of his
work. Whether it is a painting, rich in matter that shines and uncovers the color tex-
ture; or the splendor of marble worked with a very refined skill that gives whiteness and
light to these elegant and dynamic body shapes; or the flavor of the whole land created
(I would write: the flavor of the river clay), where you feel, you still seem to touch, the
warmth of the fingers that have shaped it: his language always creates a story as an expe-
rience of life.
For this reason, the titles of Moné's works seem chapter headings of a long narrative,
devoted more to the future than to the past, slipping from the present towards the infi-
nite possibilities of life experience.
I could not tell if his hand is more skilled in painting or plastic. His craft and his art-
ist's hand are great, but it is also true that the hand manifests what the artist's heart and
soul thought, suffered and understood. I could make dozens of examples to confirm my
reflections. But I prefer not to do it, because it seems to me that the artistic narrative of
these works is a constant and harmonic flow of the narrative of life.
It is the most compelling feature of the research of this artist, loudly and clearly
framed in the context of the liveliest contemporary who knows how to use the materials
and can handle it with ease. Although it is clear that behind this ease, there is the long
time of thought, reflection, and the great art of professional work.
Francesco Butturini

 

Data sheet

pages202
Published year2015

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