Diapsalmata: lyrical interlude
By Fredi Perucci
Vincenzo Storelli, painter, hedonistic, puts the woman at the center of his expressive research. Particularly now, in the latter period of his artistic production. At 65, the Woman, for the artist Man, takes the absolute value of universal and inspiring Muse. Woman as wife, sister, lover; woman as a reason for living, entity entropic in color expansion, solar soul; woman as a flower that blossoms invading the space; eating plant woman; mortal woman, cheerful, forever the queen bee, praying mantis, Hydra; woman as the placenta, the mother cell capable of giving life; woman as a singe responsible for the sublime pleasure of the flesh, passion, love; woman as Adam's rib, sinful entity, fallen in love with herself, sensitive, unique, sweet and perverse; woman as woman, grandmother, cousin, friend, amazon; woman as siren of the ocean; woman goddess; woman mother; holy woman, gentle woman, beloved woman.
The world of Vincent Storelli is married to women. His crazy, unconditional love for the gender which is considered as weak comes naturally over time as a child and, like the green ivy faithful to its first meeting, will grow, strengthen and will not leave him anymore for the rest of his life; until now at least: time of lyric interludes, of sensuous apotheosis of a chromatic scale, time of parallel fifths, of lyrical epiphanies, contrasts, overlapping, sublimation, dissolving.
The eye of the poet is the one of the period of falling in love, that Vincenzo Storelli lives and relives and lives again in every moment of the day, as a painter, a painter lover, a painter father, a painter man of letters who knows well Soren Kierkegaard, for having read:
"The first period of being in love is always the best, because at every meeting every look brings something new to rejoice."
The epicurean aesthete may find enjoyment in things such as honor, wealth, nobility, the beloved, which are external to him. Or it may find extreme enjoyment in conditions that are within him, such as painting, for example, the expressive talent, leaving out all the rest and pulling the woman out of the life basket, to make of her a Goddess, the absolute master of her own existence of Man.
The duty to himself, his beloved philosophy, the gained ethical dimension, push Vincenzo Storelli, Epicurean Prince, to project himself with open arms toward his destiny, without ever getting lost, toward each new instant, ready to accept the unknown wonders that suddenly gush from the earth as beautiful Furies; anxious, curious, eager for a new look: a cruel and attractive look, sleek and fiery, wanton and wicked, unique and unpredictable, of a woman who can improvise a diapsalmata, his gentle woman, his beloved.