Artistic production

Works that enhance color, volumes, arouse emotions, capable of communicating and stimulating possible personal interpretations.
Select the type of artistic language.

Images referable to a lived or dreamed tangible reality of exotic and nostalgic worlds. Figurative choices that usually flow out of the unconscious with arcane meanings to which everyone is entitled to give its own free interpretation. However, it is intriguing to stimulate people in finding answers to the reason why certain interpretations give birth to forms with multiple meanings, that do not correspond with one’s history and customs. The observer plays an active role and participates with its own personal experience and store of knowledge to the personal analysis of the piece of art without necessarily meeting the artist’s intentions.


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…

Antonio Culiersi