by Ilaria Caielli

Patrì’s art reflects the view that painting should be a spontaneous means of expression. Something immediate, something unafraid to deal with the contradictions, faux pas, originality and innovations of the language of art. The range of expression is born from the dialogue between street and measured, gestural art, in which an encounter is never banal and where typographical signs, iconographic forms of inscription, apparently arbitrary images and informal backgrounds cover their canvases. The references to street art carry with them an exuberant, colourful and at times ingenuous style along with all the ethos associated with urban art – fruit of the interaction between the concepts of Visual and Performance Art in which subjects belong to and are active within the world of contemporary metropolitan culture. Patrì’s art lives within the cultural space of galleries and virtual communities, hi-jacking elements of popular culture along the way together with a symbology that represents mainstream contemporaneity
Just as the concept of repetition tends to be an inherent aspect of street art in an urban setting, for Patrì, using the same subject over and over again in different pieces serves to underline the presence of that subject and to increase its emotional impact. On another level, a dialogue with a style of painting known as dripping is also introduced, taking on new meaning as a way for the youngest generations of artists to reference tradition, as well as hastily produced iconographic forms, in full mural style, in which the realism of representational art as a contemporary aesthetic strategy is part of the culture of the type of urban art that relies heavily on images that have a significant visual impact. The way traditional elements happily exist, on a canvas, alongside those that are not, whether they be typographical or iconographical, helps define its aesthetic value and here and there, busy sections of any one work make way for less cluttered areas where the flow of motion is only apparently broken by a crisp, white, continuous line beyond which there is a sense of constant movement being brilliantly orchestrated. Calligraphic and figurative signs are scattered across broad canvases and one could stare deeply into them, allowing oneself to be swept up by the sense of time they incorporate, but for the presence of that inescapable white line - sharp and crisp – that brings both one’s eyes and mind back to reality.
For the Patrìs, the act of painting is a process of discovery that encompasses the basis for a pictorial story as well as the means by which to deconstruct it. Their work is always indefinite, and spontaneous, something suspended between iconographic shapes defined by their bright colours and a gestuality that is only apparently arbitrary. The aim is to lay claim to a symbolic area, in this case art, in alienating suburbs that systematically marginalise whoever is seen to fail the Manichean challenge that exists simply by way of being in a world in which the only choice is to dominate or submit.
It is a very personal approach, with deeply coloured, isolated elements and floating forms on apparently chaotic backgrounds that provide new ways to communicate. Where paint, lines, figures, scribbles and fantasies evolve together, turning into the preliminary modules of another commitment, triggering emotive and suggestive responses from those who see it.
Patrì’s art is young in style, and carried out, as it is, in a context characterised by constant changes and the need to adapt quickly to new social orders, it turns into a training ground for innovation and a means of affirmation for new generations charged with interpreting an increasingly changeable reali