Love, mystery and life give the rhythm of the pictorial research of Mauro Guidotti, marking its symbolism, the allusions, the chromatic choices. All his paintings present to the eye of the viewer the big eyes of their figures: eyes that look into other eyes, in the wonder of discovery and the search for meaning on the value of every relationship  with the human fellow, with the Eternal Feminine, with nature, with oneself, with the Mystery. Guidotti makes radical choices going to the root of life, reaching underneath the sediment deposited with time, which is something useless, despite the illusion of man of it having to do with the essential. But Guidotti knows what’s really essential and he reaches it with clarity and power of expression. It’s  about main paths and life choices. The rest seems to be that ephemeral mistaken for necessary but instead, it distracts human kind from the reality to which it is destined .

Going to the root Guidotti recovers the wonder of discovery, of the restless inquiry,  of the wide opening of the many eyes in his paintings. His artistic language is an original synthesis between the popular murales that he has known and appreciated in his experience of life in Colombia, an experience even more important  because of his happy marriage with a Colombian woman (a clear sign of a harmonious synthesis with that culture) and knowledge of the academic achievements of western art very present in his paintings. A very original synthesis  with the immediate effect of popular painting and the symbolic intrigue of our history of art, in particular the Cubist and Surrealist.

 I have also called the art of Guidotti, in line with the poetics of Garçia Marquez, an art inspired by a sort of magical realism that becomes mutually, realistic magic. It should be also said that the concept of 'magic' has nothing to do with the world of occult and superstition, but instead with a childlike enchantment, with the  unreality as virtual reality, with the desire that èpulls reality. That is why his paintings are crossed by circles, spheres, closed lines which are comfortable, calming, 'maternal', embracing and all-encompassing. It is a fluid matter, vivid, which runs on revolving lines that come back because they are complete, full of meaning and identity.

Analyzing the chromatic level of Guidotti’s production we can see that sometimes appear two-tone paintings, in black and white, like some photographs of great realist suggestion.  Most often the prevalent color is light blue (with some variations in blue), the allusion to heaven, where exactly that color indicates the image of the Almighty, the Mystery, all confirmed by the other color that constantly marks the paintings of Guidotti, yellow… yellow of the stars, of some nuances, of  the moon, of some background. Rare but noteworthy  is green which represents life. Green is the earth, the hic et nunc of our daily lives, whilst  blue and yellow symbolize alterity and Transcendence.

Life is a temporary condition and, as metaphorically represented in the title where the dots are before and after the words, its origins and vocations are something that transcend is. A singular hope goes through Guidotti’s research. It is not an immediate hope that can be easily understood. In fact it is lived, complex and difficult to achieve, but for this reason, strong, proud, clear and supportive. Watching Guidotti’s paintings we have the feeling we belong to history, both traditionally and originally, and we can relate to that exotic and fantastic world without forgetting our daily routines a virtue that makes these paintings truly  'beautiful' able to lead every man in his journey through life.

(Roberto Rossi)