Giuseppe D'Auria's last production offers a charming and difficult painting, like all the elementary things seeking the synthesis at the origin, at the beginning, on the thresholds of the formation, with all the implied transparencies that are the prerogatives of the rising of life. Therefore it isa landing-place along whose route you can find the bases of knowledge, the familiarity with the human and philosophical sciences, an uncommon sensitiveness which «discovers» in the pictorial matter the event sought with the devoutness of the pilgrim and with the strong poetry of that human ideal he recognizes in nature and in the living beings, those miracles of spirituality and love that are seeds of dreams, fantasy, many-decoloured reflections of truth. In five lustrums of artistic and expositive life, D'Auria has always made a painting of contents. He has retained the prerogative of essentiality, the cleanliness of the sign, the dose of the gesture and the intuition of the colour expressed in the search of the matter as well as in the dissolving of lightness's suspended upon impalpable horizons. He has addressed so many experiences and researches to the new field of investigation that he is able to discern the specular duplicity of the time-space event from the shapeless matter. Lt is riot easy to paint suspending the image on the threshold of its own configuration, evaporating it in liquid colours which have exterior slow motions and interior whirls, recalling the phenomenon inspired to its determination; art must invent a charm that in a turning kaleidoscope can inspire a bubble's iris, lighter than a breath, to caress dim dawns and sunsets, shining with their eternity upon the tensions of roots, muscles and nerves, bodies as landscapes, where the strong hands of the senses explore free emotions and coexisting colours, blended in the primordial cosmos. One sometimes perceives the sense of an evocative chromatist, of an interior drama, made fluid and impalpable by a sapid study which shrewdly avoids both the expressive pangs and the impressionistic virtuosity and, in a sort of ethical balance, attain the desired synthesis: the most organic one among nature, instinct and reason. Therefore D'Auria's works have the charm of the rule, the sense of the unfathomable, the magic and unforeseeable suggestions of luminous lands and suspended, allusive, metaphoric fragments; inventions discovered beneath the extended and destroyed colour in order to compose, just like in an ikebana, the universal history of a feeling, the clear-sighted smiling melancholy, life rising to lose itself and renew in its more ardent desire of youth, of seasons astonished by the sudden changes of seasons, of immersions in the brightness of an event which coincides with the truth and shows it in the spiritual palpability of a joyful midday.

Angelo Calabrese