He died some years ago, in 2006, but his relevance
it's fantastic, edgy, both from the perspective of Things which from that of theoretical and speculative. In short, immersed to the fullest in fluid modernity, tending ever more towards liquidity, his doing has always been closely connected with his thinking, in so far as, for him, gesticulation is never automatism, but Grammar mistake programmed, which is what leads him to praise doodling, understood as a tool for self-analysis and the analysis of others, and consequently to the conception of a liberating form, of inhibitions, of frustrations, thus becoming a sui generis tool for mental therapy. Because, he argued, if art can make one ill, as evidenced by Stendhal syndrome, it can also heal, thus giving rise to the many experimental, formative, and practical paths of “art therapy” which, in my opinion too, must be more culturally developed with a psychological specificity, of what he called psychology, a science yet to be written and systematised, in those areas where mental distress is a result of solitude, of saturnine syndrome and not due to distorting and pathological factors of the cerebral apparatus, which is where the mind is situated. The starting point in this open field, by Nato Frascà, is a remarkable synthesis of invention and discovery, in which manual skill is the factual expression of complexity, at various degrees of physiology, at various degrees of pathology, with a mobile and porous boundary,
of mutual reciprocity, in a back-and-forth manner.
In 1962, he writes, with Nicola Carrino, Gastone Biggi, Achille Pace, Ninì Santoro, Giuseppe Uncini, the manifesto of Group One, of whom G.C. Argan says: “These six painters did not group together around a programme, but around a Research direction, of Check, of experimentation, for situations, values, developments”. And Frascà himself adds: “…we were not aiming for a professional-type escalation
I enter restricted cultural circles, but we proposed, almost dionysiacally and joyfully, a synergistic function between artistic languages and life, of existence... in a flow that sought to continually pour new energies into old containers of a historicist matrix, in an attempt to dissolve their dividing walls and transform them into communicating vessels”. Prophetic words, read today, in this today that sees everything brought together to coagulate (like Parmenides) or flow (like Heraclitus): simultaneously. And what about his painting and his sculpture, without succumbing to their playful and exhilarating charm; a way to bring into communicative relation his desire to express himself, which also led him to cinema and theatre, supporting the fundamental unity of artistic expressions, which only on the phenomenal surface divide and articulate themselves, while all spring from the same source musical, which is of the universe, but which is of all of us, of which we are part, with the particularities, which are the precious paths, of the one, of the whole.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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