By Paolo Levi

One immediately understands that in this series of images there is a sort of Mission of Liberation: Giacinto Bosco announces that Utopia, through multiple moments of true poetry, can transmit its message to the heart of the observer.

We all have more than one reason to be grateful to this Master of Fables and creator of moment which are full of delicacy.

His non-conformist way of expressing himself represents the most straightforward possibility of contrasting that kind of contemporary experimentation which utilizes unusual materials, desecrates what is alive and beautiful in art, and declares its irreversible death.

We are therefore bombarded with negative messages which disturb our consciences, because Art cannot be the child of one Absolute and Pitiless school of thought, nor can it be elaborated like a philosophical treatise. Bosco’s works, a combination of admirably united Pathos and Reason, give back a sense to the value of figuration. His sculptural sensitivity expresses itself in an almost lyric synthesis, a poetic awakening, of sensibilities whose meanings seemed to have been lost.

That is the reason why this sculptor feel at home managing the primary materials, where is ingenious sensitivity expresses itself with no formal inhibitions, where the vehicle of his emotions is transformed into an enchanted sculptural language.

His works fill the space in an interactive yet uniting discourse, and is clear he welcomes all the comforts that the experience and culture of those who preceded him have to offer.

I believe, therefore, that is would be opportune to declare to the world how, in a moment in time when creativity is so scant, Giacinto Bosco’s creative journey merits a critical place in history.

It should be said first of all that his works, while conforming to the expressive traditions of the second half of the twentieth Century, take on a new aspect – that of the narration of a Fable of Love, which place them out of time and history.

His works are full relief, executed according to the chrisms of bronze sculpture, and encourage us to reflect upon his rare and distinguishing capacity to reconcile his memories with highly original techniques of execution which absolutely cannot be linked to any formally established cannons from others times  and other places.

These sculptural tales highlight an Art form which only  the enigma  of the subconscious can recognize, through a process of cultural investigation and subjective introspection; they offer magical suggestion, and are somehow transformed into live,  pulsating materials- and in this case into symbol of candid lightness and arcane allusions.

All of this has been transformed by Bosco into figures which are as yearning as they are simple – from which the solemnity of ancient, basal sentiments transpires.

The two figures which continually appear in a cycle of compositions where the moon becomes a universal symbol and a metaphor for love – “Ti prendo la luna” is the name of a game, a sublimation of the feelings which unite a couple – express a quality which is basic yet united to the sacredness of an intimate ritual. The simplest gesture , even just hand-holding, thus take on the power of a consecration, of eternal promise.

This poetic expression is composed of reassuring contrapuntal figures; they are recognizable  figures, almost lyric, and are the work of a knowing hand; the artist makes the figures move in what seems to be lovely dance.

This sculptural image “walks a straight line” – that is it proceeds toward imagery which then “winks” at the essential qualities of Primitive Art.

I wanted my first meeting with Giacinto Bosco to be in his studio in Milam, where he is surrounded by works which seem, from the moment of impact, to welcome the visitor. Who inevitably finds himself in the midst of passionate events, such as the “Travolti dalla luna “ bronze, the representation of an embrace, seemingly between two lovers  after significant vicissitudes.

On seeing his works one understands how important the intimate relationship he maintains messengers is with those who convey his ideas, with the secret drama  which involves two souls, with tenderness and force, but most singularly, with an allegorical invention, where the moon becomes a swing – a loving meeting point between heaven and earth, where desires become reality, and the magic ferry of dreams and protector of sensuality.

Giacinto Bosco carries out his work with the vocation of a talented artist how utilizing every particular shade of the  chromatic patina which is consonant to the image he has chosen to represent – the blues of the male physique, the whites of the female, the golds of scenographic elements; the moon is both white or gold but smooth and shiny, while all the other surfaces appear rough, scabrous – and exploring with mastery all the artistic potentials that bronze offers.

But these works deliver a gentle and attractive message only in appearance; in truth, here there is no desire to evade, but rather the reduction to essential qualities of certain Nordic fables, where dreams and reality intertwine in a melody of sentiments.

The artist manages to establish a relationship with a form of  mythology expressed in symbols in a completely novel  manner. The tale has a disarming simplicity, with no rhetorical veneer.

And yet, each vision involves us because of the density of the nuances: each act seems to the closed, concluded, the synthesis of  a simple event yet possibly complicated, joyful, painful, or even impossible and only imagined. But a unique and unrepeatable moment of the simple event remains forever cast in bronze; a  moment so important it shines its light into the infinite  space of memory. The symbolic  actions of the two lovers are not just the epilogue of an Erotic tale.

But the motor of and epic narrative, which is interlocked with all of the variations which the intelligence of the heart dictate.

What is convincing in this cycle of compositions rich with expressive musicality, is the artist’s charming capacity to evoke, as if were magic, the unstoppable force of love , which even manages to capture the moon, which is in both the heavens and at the bottom of the proverbial well, no longer just a moon, an appeasing divinity, but a concrete presence which gathers its strength from the force of desire.

All of this takes place both in heaven and on earth, with the union of the male and the female, as the ancient oriental concept of Ying and Yang suggests. The moon is both witness and accomplice in every moment, as it establishes the measure of time and of the seasons, of the night and of day, because it is the guardian of dreams , assists lovers, and celebrates marriages. With these works, lovely in form and satisfying in content, Giacinto Bosco seems to respond  with a hymn to life  to the myth of Orfeo and Euridice, where instead death  prevails over love. As well the ephebic nudity of their protagonist evokes the atmosphere of Adam and Eve in the Garden of Eden before the loss of innocence.

There are numerous stimuli which suggest the juxtaposition of ancient archetypes, as there are poetic motives which inspire each single episode, in a visual process of great aesthetic and formal depth; and although it may be said that Bosco  explores a terrain which has already been exhausted by Surrealism, all the same he never takes advantage of the World of Dreams, but rather chooses to make his realm a world of marvels, of fable-like      dreams from which there is a happy awakening.

From where, then, does this poetic pathos surge? This is the question that begs a response in order to better understand the authentic meaning of  Bosco’s research: in my opinion it is in the profound sentiment that he has regarding his work, the same sentiment of the Romantics, who saw amorous passion as a metaphor for all freedoms, as the motor of creativity, as a luminous guide along the dark paths of life.