Il mondo fenomenico di Piccinno è quello del “velo di Maya” di Arthur Schopenhauer, manifestandosi attraverso forme a priori di spazio, tempo e causalità che sono altro rispetto alla realtà in sé, esprimibile dal “noumeno”. Tali forme sono inganni, espressione di una vita simile a un sogno. [...] Piccinno si interroga sulla vera realtà, non sull’apparenza illusoria, squarcia “il velo di Maya”, va oltre le illusioni fenomeniche, punta sulla volontà (l’unica vera essenza dell’uomo), rimanendo,
però, cosciente - come del resto Schopenhauer - che «la condizione esistenziale umana sia come un pendolo che oscilla tra il dolore e la noia, passando attraverso il breve intervallo del piacere». Piccinno – secondo la concezione del filosofo tedesco – possiede uno sguardo atto a penetrare nell’interno del mondo e a coglierne l’essenziale. Cerca di pervenire alla verità, come il Premio Nobel, Eugenio Montale (1896-1981) attraverso “il varco” (“il fantasma che ti salva ” di “In limine” del 1924), l’infinito dei tagli di Lucio Fontana.

Piccinno’s paintings hint his way of positioning himself in front of reality, understood as neo-figurative, with an emotional involvement that allows him to achieve a rendering of forms and life, both fantastic and immediate, far from some mystifying and schematic modules from which so much contemporary art seems to be corrupted.
Due to the complexity of the representations, the viewer’s point of view may meet the author’s, also free of pre-established schemes. This objective vision of the world translates itself in a meticulous search for an authentic language which can be perceived in the forms he achieves with the help of interesting backgrounds.
Wonderful magic and enchantment created with the use of colour; his passionate and vibrant art gives the chance to meditate; his neo-figurative language is frank, sincere spontaneous and free from formalisms. The element that attracts the artist the most is a fantasy world where men, women, young girls and images of chromatic and spatial landscapes become a fruitful source of inspiration.
Giorgio Piccinno often puts forward the question about women’s femininity. His search begins by referring to the woman in terms of a nymph that during Creation receives femininity, sensuality, deification and the art of camouflage; that profound sense of anguish on the faces marks the sign of a lost history that is hidden in the sinuous shapes of the images. The nymph extends her sensuality to the light, the landscapes and the colour tones. However, Giorgio Piccinno prefers to stand prior to this point; he seems to be setting the limit beyond which the viewer will be able to proceed alone, unless the refinement and the colour flocking don’t lure him once and for all…

Piccinno’s artistic production is the work of a young man that as soon as he perceives, he expresses himself with extreme promptness but still maintaining an impeccable accuracy in content and prospective…

Piccinno found it appropriate to unite his experience in sculpture and paintings to his graphic and chalcographic experience in order to achieve further thematic and technical complexity. The semiological assumption and the appeal of a sign perpetrate to the “status quo ante” of a technologically advanced world… Even the use of etched and aquatint engravings will allow him embrace craftsmanship, just like the traditional investiture as “the creator of graphical footprints”, where everything is controlled and weighted with common sense: starting from the preparation of the metal matrix to the application of rosin, Judaic bitumen or sodium chloride; to the various morsures used to create the light and shade effects, to the polishing of the sheet and finally to the print.
A note of melancholy and afflicted emotional participation fill the landscapes and the drawings made with Indian ink… These are also revealed as elements of protection and separation from the daily stress that are consequently reflected in the mind of the viewer as “unspoken”, “silent” and “implied”.

Giorgio Piccinno’s art is free and allows the masses to plunge in an atmosphere of clear light while revealing originality in figuration. However while working on the line of the figurative tradition, his favourite subjects are full of psychological elements, and are supported by a good drawing technique, as well as a rich use of colour. His works are therefore considered to be of great interest for their technical and formal execution.

It’s always gratifying to follow the stages through which the artist evolves and asserts himself. Signs of the artistic ability were already visible during the learning period at the Academy of Arts. Former times characterized by a certain learning experience. But already at that time, the accurate commitment to deepen and seek an autonomy with regards to composition and colour emerged. Now I see with pleasure that you have found a stimulating and vital relationship with the reality that materializes in plastic valuesenhanced and accentuated by colour.
Your way of seeing reality and nature is not descriptive but it’s filled with concrete evidence in the way different elements are collocated in space and nevertheless mysterious when it comes to the different combinations. This is perhaps the most original aspect of your paintings; its presence is often sudden and I would say almost an instinctive force that displays the beautiful and charming sense of nature.
The characters in your paintings: the human figure, the performance of a prancing horse, the capacity that landscapes have to depict images, is expressed not only as something concrete and tangible, but it refers back to a less epidermic reality, that needs to release the soul; the vital breath that provokes with the inaccessible recesses of nature, sobriety and control of the means of composition, without neglecting rigor.