| 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 ³Rocco and his brothers². 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 . | 
VincenzoJannuzzi
