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They say about him: Matteo Guarnaccia

Always stroke me this hurried watchmaker' fingers. They have developed a meditated callosity at the exact point where the pen leans.

A megaphone pen, one step away from structural crunch, that this german expressionist, casually reincarnated in calabrian land, uses since almost forty years in order to write out a great popular romance.

Jannuzzi-s style is a pedagogic one, swinging between Murnau and Wertmuller, between Walter Molino and George Grosz, crossed by sudden register changes, from grotesque to mawkish, from heroic to practic. In facts his artistic curriculum could surely go back to high middle age s times and skies: I see him clinging like a spectacled tarzan scalpeling malicious gargouilles on the gothic cathedrals tops, makin fun of clerks and sherif s thugs.

Jannuzzi is since ever a relentless agit prop who never drew back before any kind of expression challenge. His panoramic eye has created ingenious cute paper theater sceneries, precious multidimentional furnishing origami. He has been able to transform an apparently innocuous and anonymous ballpen into an extraordinarily expressive medium.

His prolific artistic production embraces mass cartooning for children, the semiclandestin one for adults, the reduction into cartoons of letteraryworks as Mother Courage, by C.Grimmelshousen, or The 11000 rods by G.Apollinaire, political murales, ambient decoration, magazine cover illustrations, collages...

His critical to present state of things avails itself of a nostalgy poetic made of bodies, objects and still movingly neorealist sceneries. A timeless extension of Rocco and his brothers. His iconography is a short circuit between a real socialism and somptuous pin ups that still scent of barber shop s calendar.

An art made of fast and irrevocable cutting blows, derived from a swordsman mentality .


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