– a commentary by Nicholas B. Daddazio 12 April 2007 New York City
“I want you to step all over my canvas; wipe your dirty shoes on it! Please…” Claudio Arezzo di Trifiletti, the native son of Catania, Sicily, says this in Italian, though, to passersby on 34th Street, or Canal Street, or Park Avenue, or Wall Street, or the Brooklyn Bridge, or one of thirty other locations in New York City. He likes to prepare all of his canvases with the ” Imprints of ‘energy’ ” from a particular location before he actually paints his vision in the moment over the traffic-splotched footprints on the onceclean canvases. In a two-month sojourn he completed thirty paintings that are now on exhibit in one of the most energetic, famous building in the world: The Empire State Building. Like a beacon, his IMPRINTS exhibit looks out of the 36th Floor windows at all the different locations embedded and hidden in each painting.
Transcending reality are figures and lines corresponding to a nexus in mind to be re-interpreted by brush and paint the pull of the canvas. Look closely and you will see human-like images dancing, ascending, arising, as though in a dream or shadows flickering intensely on city walls and trains. There is always movement. There is always color. There is always the hidden presence of the invisible imprints. Walking through the maze-like exhibit during daylight is exhilarating and overwhelming because of its intense beauty, meaning, and flow. At night, after the sun has set, the city is transformed into a carpet of flickering lights in the darkness of outer space. IMPRINTS is transformed as well into a mystical visual experience like watching shadows dancing alongside ancient cave drawings. Each canvas has a life of its own that began when the “world” pressed its energy into the fibers that eventually gave birth to a new artistic creation. Taking this concept one step further, three canvases reflect the energy of a sculptor, a dancer, and an artist who paints labyrinths. The sculptor created a giant necktie from an old, dirty, paint-stained cotton drop cloth. The dancer performed a choreographed dance on top of the stretched-out canvas. And, the artists who painted the labyrinth did so while on location on a busy New York City street. It is very difficult not to feel an unbroken, invisible connection between each painting as you wander through this magnificent exhibit, which is in one of the most important intersections on the face of our planet and in one of the most majestic buildings in the world.
THE WORLD DEPENDS ON A FLAME LODGING IN EACH OF US.