While Lucatello received his artistic training in Venice, and
his cultural and pictorial background is clearly Venetian in the
academic sense, he claims that he wishes to break away from all
cultural traditions which are oppressive to human creativity,
as is the case today.
For artists and men must consistently seek to renew and develop
their vision and perspective, so that it is always fresh, always
dynamic and never static.
Lucatello is no stranger to controversy and his ongoing, angry
and often heated disputes within intellectual circles confirm
this. While his position is frequently misunderstood, he has little
to fear from the judgement of others. Not fitting in, being rejected
by the artistic establishment has obviously created problems for
him, and yet he is not unduly concerned by this. Perhaps it is
from this that his love for Friuli derives. Friuli: a land hostile
and harsh, culturally barely explored, and yet decidedly alive.
It is through this natural environment, which is, as he sees it,
divided into areas of green, but also black black which
in its intensity and fullness becomes colour that his heartfelt
feeling for nature was to find expression in a language which
was to form a vital, lasting and mutual bond between them. Natura
del Friuli (the nature of Friuli), Dimensione uomonatura
(Mannature continuum/dimension), Ostacoli (Obstacles)
are frequently recurrent titles in his paintings, painting which
are often imposingly large in their dimensions.
His painting are moments, part of an ongoing, constantly
evolving discourse, difficult and yet unfettered by inhibitions
of any kind. This is demonstrated by the scope of his work. There
are depictions of nature, where the impasto be it of the earth
or of mulberry trees is at times rough, at times smooth, representative
of the impasto of human consciousness Then there are
his obstacles which are at times harsh and rigid,
at times soft and serpentine and represent both the barriers and
ring fences which impede human progress. His more recent faces
depict human suffering: they are real faces, terribly alive, full
of bitterness and intense pain, pain of times past yet never resolved.
Yet there is always in some way, even behind the obstacles which
seem about to shatter into a thousand pieces for all the tension
that is within them, a clear glimmer of light, like that of dawn
tentatively breaking through, distant, difficult to grasp, but
nevertheless within reach.
translated by Amanda M. Hunter