The faces of EnigmaDiego Valentinuzzi’s aesthetic and poetic line - and believe me it is not only appearance belongs to a gentle surreality that brings educated as well as mysterious visual elements. He is the most surreal among contemporary Italian artists that follow that matrix connected with the movement of historical surrealism. The enigmatic Apollinian of the palette works with melancholy and civil irony constantly soundind his own unconscious and visualizing his own archetypes under a purely obyective light. Of historical surrealism Valentinuzzi has maintained the concept of art as apparent irrazionality. It is emblematic, in this case, the composition “Paths trought memory”. In fact all his stricking artistic production represents the reflection of a restless artist, of a dreamer extreme lucid that proceeds trought symbols all allusion. His experimentation, result at first sight a severe sounding of his own unconscious that from shadow changes into mysterious light – develops inside a dialectic relationship between an extremely vital Ego that callis to account material appearances and the presence-absence of ideal images in an enjoyable crushing. Valentinuzzi has been working in a meticulous way for years, trought a trought that pictorially exalts the figurative obyect as death and, at the same time, as-re- birth and crystallization of a memory presented as rebus waiting for a possible solution. His “imagerie” as far as we know is incredibly abundabt and various. It a meditative stage from where women’s faces, prsense of elegant classical images, red lips with nearly a plastic shape, and a non accidental numerology in a decorative Caos come to light. Then, Valentinuzzi is apparently a painter whose visual research can be easily decoded trought-above all his quotations from classical painting: trought the representation of lying female nudes; trought the depictions of women with their hair trimmed with pearls or mothers with the female image has, above all two aspects that I should say essential. On the one side Diego Valentinuzzi faces the image of the woman under aesthetic light. It seems sometimes that codes. On the is inder these codes. On the other side, this painter with fantasy skills underlines the woman’s sensuality that springs from her eyes and her glance. But going deeper in his themes, he is a poet of the palette that spreads enigmas decoded only by the silent coscienze of the attentive observer, You can notice in his work, in his research a contemporary and historical recovery of the message from the acient Renaissance masters, all in a drive of highly imaginative elements where the contemporary relevance is very well linked with the Museum as if were the history of the past. Valentinuzzi moves, therefore, trought a stage of stories kep in abeyance, utopic impossible events certailly oneiric. Uselles to say that these are traces called by the artist “paths of memory” that come from the collectivel unconscious, that one explored by C.G. Jing. About these works of light compositive and poetic srenght the observer across a rare rigout that visually exalts a scherme of circles, of parallel lines that skilfully divide our field of vision, the path of memory wish to underline,once more, how his imagination is uncredibly made of mental hints, of solutions that sometimes reminds us of Dada. Surreality is for our artist the activity of a trought where you can investigate, provided that the area of his vision moves and comes from unconscious. Diego Valentinuzzi’s works are finished emblematic moments that rise either from an highly imaginative experience or from the background or from both. What I discover of provocative in these reserches. From where not a tragedy but a serene comedy of unconscious comes out-is a wanted anti-phylosophy, a kind of anti.systematic nature,in a curious calculated logical system, reading key belongs to thr sole artist. He is a taller of introspection that is not willing to admit any distinction between thw shere of what is recognizable and that one of the crative actseen as silence. His dynamism while working succeeds to maintain the balance between the narrative crypticity and the intensification some time welleducated of our psico-physical faculties. Diego Valentinuzzi in his compositions by colour given in a virtuous way, presents a severe sign laceword, necessary support for a narration made of allusion. He exhalts the fermale beauty as expressive vaguennes and natural elegance. His most recent works present an arrival and stress this quality of his an artist linked to the historical experience of Dada as well as to the most recent and ambiguous one of Pop Art. Valentinuzzi willingly excludes the beauty of the real, of reality and substitutes it with a representation that, without rhetoric, aesthetic moment. Moreover, he is a kind of a craftman that considers the pictorial image a tactile value. In every sperimentation he does not conceal his desire of overcoming the obliged threshold of quality to go beyond the painted page and, doing so, involve the innocent observer of these enigmas of his. In order to face better his sperimentation we have to keep in mind the subtle disctition that Nietzche did between the truth always demonstrable and the veracity of a proposition that can be verified by the way of its enunciation. Valentinuzzi himself most of the times does not entitle his works perhaps because he wishes the observer himself solve the Enigma announced trough a crossing of images of an absurd aspect. Fixing static shapes of women’s figures in every painting implies. From the artist’s point of view- to willingly impose the duration of our observation trought the armony of the colour that fixes the body and the face in a metaphysical atemporality. We are thus given the possibility of moving with the help of imagination and changing, every time, our interpretation. The universe of Valentinuzzi’s images is that of the dream. The tale of the dream is false as for the fact that it is a tale made of words. Diego Valentinuzzi is, substituted by the whiteness-colour, that on the canvans magically changes into symbol-forms. 
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Paolo Levi
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