And Chico Mazzoni looked at the canvas and Said: fiat lux. And there was light. And light spread in prisms, lusco-fusco, solstice,lumière. From painting to painting, there is acceleration of tension between luminosity and dark obscurity, reflexes and perplexity. Eating light. Using light to enter caverns, spy through keyholes, paralyzing scenes, silver plaiting. Chico Mazzoni conducts paint strokes as lanterns which pop up here and there: in the next moment, there may not be light. About works done in dominant colors, the absence of traces reveals forms, illuminations, braiding, sexes, rains, murmurs, animals under the moon. Torch, flambeau, lamp. Check out that shining eye, the intriguing neck, the reflecting body. Paintings to love you for: aureole, bonfire flashes, light station. Chico Mazzoni toasts the heavenly bodies and bids well to all. The last one to leave turns off the lighthouse.
Classified as modern, Chico Mazzoni condenses his preferred themes into this exhibit: human and animal figures, “which continue being mere pretexts to the study of the possibilities of reflection of light on its material supports”. However, this time, the painter brings a difference to his work, fruit of even more radical research. That is, the point is more important than the trace and the flat surface than strong colors – which differs from his previous phases.
In summary, the tendency of Mazzoni´s work now is much more impressionist, considering that his paintings somewhat lost his hierarchy – the figure and the background have the same importance. “All this is to translate the search for synthesis of light, as if it could be captured in a rectangle of cloth.
Jornal Correio da Bahia