“Francesco Dea moves among the creatures of dreamland, almost immersed in an awareness of the unspoiled expression to be found in non-figurative paintings. Excitement is released and energy is generated where colour is absorbed at the vortex of beginnings and memory. This regeneration is time and movement, a trace of history reclaimed in a moment of enlightenment. Child of adventure both extraordinary and mystical, Francesco constantly floods the observer with wonder. He illuminates the fine lines that bring together an awakening, almost counter-intuitive to the obvious. Like a shower of shadows in a silent hush or a secret found in the thunder of the moon.”
Sandra Lucarelli – Art Critic – May 22, 2016
“The pathways of the mind”: the introspective exhibition of Francesco Dea. A revealing journey through the inward spirit of the real “me”. This is the theme of Francesco Dea’s art exhibit “The pathways of the mind”. The artist will display his paintings, characterized by strong colours that reflect depth and movement, mirroring our individual existence “distinguished by fleeting images, vague shapes, and thoughts that cross our mind with the speed of lightening”. An exhibition of dreamlike colours and emotions.
Francesca Murri – Journalist – Article published in La Repubblica of Roma 22/11/2015
… “Artist of intense and imaginative chromatic creations”….
M. Guida – Journalist – Corriere della Sera
“Francesco Dea creates a type of pictorial narrative imbued with atmosphere and dream ghosts that is emphasized by filters of colour and lively chromatics… a voyage courageously undertaken to give light to unexplored objects which blend in and become superimposed by other signs and figures. In these works, the grotesque is tinged with irony, the tragic becomes a fairy-tale, games are no longer intended for amusement, and fate is thought to be psychologically logic.”
D. Ricci – Journalist – Il Mattino
…“A young artist who is exploring the pathways of abstraction with joyful results, is not exempt of a strong instinctive component that directs him towards solutions always more formal, in which he manages to evoke the same emotions that recall the explosive, almost psychedelic colour tones of his early career. The explorations of Dea becomes the road towards a subtle and poetic way to resist conceived ideas of style.”
G. Nappa – Critic and Art Historian
…“The work of Francesco Dea places itself, in the realm of contemporary art, as totally independent from the ideas of others, never allowing the spectator to be taken in by the annoying sense of dejà vu that often pervades the observer of a new artistic creation. The absence of any technical reference to a school of Art, a particular professor or teacher, or a passing genre supports an understanding of his paintings completely devoid of teleologic temptation.
The work of Dea, in fact, should not be interpreted with the usual predetermined results. It should rather begin as an abandoned shipwreck that requires the efforts of the protagonist to be charged with motivating emotion. It is not the canvas that should be the object of analysis, but the spectator who, through the canvas, must examine his inner soul and abandon himself introspectively to cathartic possibilities.
This evocative power, a trade-mark of Dea’s works of art, is the result of a visceral relationship between the “I” and the canvas. Dea does not paint objects, nor does he abandon himself to geometric forms, nor is he tempted by the relationship and perspectives of oneself and space. Rather, reflecting his complex personality, torn between a strong sensuality and a consuming metaphysical tension, he enters a profound relationship with the canvas, leaving thereupon impressed sensations, emotions, anxiety, sounds, smells, flavours. It all comes together with colour which reaches, technically speaking, heights of pure excellence and combined with other substances, manipulated by the hand of the artist, accumulates, ripples, gives way, and spreads out, according to the emotional ancestral force that governs.
No censorship, no provocation, no pedagogy or didactic intention, no declaration sociological or political. Purity, strength, seductive incitement, a journey to the soul of man. The artist, who is determined to keep the turbid, corrupt World away from himself, sends into infinity everything that could threaten the spectator.
The canvas upon which the emotive impulse crystallizes a minute before it acquires significance, loses its uniqueness and becomes an undetermined number of works of art that is limited solely by the sensitivity of the observer.
It is only in the title that the artist, almost like extending a hand to the spectator, concedes a possible link to the meaning of his work. The title becomes the final jimmy which the observer may choose to use or not, wary of the risk that is associated with a guided tour.”
A. Cantelmo – Art Critic
…”The overwhelming impulsivity of Francesco Dea is expressed in his lively, intense colours. Like fire, the tones burst in front of the eyes of the observer, imposing itself at the centre of anything that stands in its way. Dea has the great gift of enlarging the known horizon by his superior use of colour, resulting in a cardinal aesthetic experience. It takes shape not on a graphic scale but on a large sharp canvas, conscious of psychological expression, each work enriched by the understanding of colour, the qualities which produce luminosity and those that produce gloom.”
A. Soricaro – Art Critic
…”The works of Francesco Dea possesses a natural disposition to transcend the abstract and to speak directly to the experience of the observer. Whoever stops to look carefully at a painting of the young artist, will inevitably find echoes of things (or simply “spectres” of things) that are familiar and instinctively recognizable. Not simply colour, therefore, but form. Shape and matter. Shapes so disparate, unexpected, and purposefully hidden in folds of the canvas. He who observes, who loses himself in the painting, discovers and recognizes, surprisingly, interrupted dreams, primordial nightmares; or else he finds symbolic objects, or faces from a lost past. For each one, a different experience, personal and intimate. The artist returns to the memory of forgotten dreams, tastes and smells of a distant time, accompanying the spectator on an emotional private road, a little path across the canvas that he allows us to catch sight of and invites us to follow. The choice to get lost in the thick forest of the imagination belongs to the person who is looking at the painting; Dea furnishes the cue and prepares the journey with extraordinary expressions of colour and matter.”
Giuseppe Renzo – Art Critic and Art Historian
Translations by Fiamma Davidson