Born in Santeramo the year 1936, Antonio Paradiso is a curious and abnormal character on the scene of Italian sculpture. It’s true that he’s been one of Marino Marini’s pupils in Brera, in the forge of the great tradition founded on classic sculpture, the nobility of marble and bronze. But his real inclination, from the get go, was to reclaim the origins.
His own origin, those of a Southern man who, processing with rude tenderness the Trani stone and Matera Limestone, chose not to impose his vision of beauty on the matter, but to bring outside its powerful and intrinsic charm. Secondly, the origins of all of us, the moment that anthropology – discipline which Paradise is an adept anything but amateurish in – teaches us to have been the one when the man has “seen” in stone, wood, in the clay some basic symbols: the living, the totem, the ratio of the bowels of the earth and the sky dizziness. Paradiso reported the sculpture to its springs, creating multiple operations in which the work does not want to be, but it is itself in space, and shape, and location.
As a true primitive modern Paradiso made the pattern of the flight of doves, a visual pattern essential, high-density symbolic. Trani stone, matte, powerful, evoking hardness and immobility, is transformed into these sculptures in a lace of empty and full that indicates the loss of gravity, turning into a hymn to the lightness, movement of light and air , with the breathtaking beauty of natural forms