Leo Strozzieri

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Roberto Di Jullo,in his long artistic militancy,has never forced the reality to the shipwreck as it happened for big part of the avant-garde.The dearest subject to him,that of the horses,for which his friend Alberto Sughi has spent beautiful words,I think it is opportune to notice as they move with a circular dynamism,completing the symbolic germinative transfert inherent the ovoidal fabulation;besides the figures allow a stage pagination like if they were actors that recite a theatrical part that,in base to the postures of the animals,often to the back capsized,it will be dramatic.

The perspective evidence projects on the background of the works a suspended atmosphere,a temporal duration dilated to the limit of metaphysics;in this sense the enchantment,the postponed dream to certain experiences of the young De Chirico.For the teacher Di Jullo,the reference to the tradition,the well approved weight of a figurative culture does not trespass in the anachronistic citazionism so that uses game solutions,fruit of the conscience of the hodie on the stylistic plan.It's sufficient to mention the other theme dear to him,that of the woman,immortalized in a long series of inks,of fat pencils,Well,he submits the figures to metamorphosis,found on the sheet or on the cloth in the incipient moment,that of the triadic ovoidal stylization:three forms id est: the head,body's superior part and finally that inferior with the appendix of the legs.The cheerful and nonstop circular dynamic sense entwines with some extra vibration,modeling,with composure and aestatics wisdom the anatomy.

The euphoria of the gesture,even though checked,becomes a lyric song,idyll,energy that produces the entasi for the proposal of a jubilant humanity that doesn't decline.

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