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Heidegger reminds us "what is creative is inexplicable ", therefore the artwork should find in it-self the theme.
The same themes which will not be the product of calculation, apriorism with out explanations.
This occurs with sincerity and awareness on the artwork of Lucio Tafuri.
The beauty manifest itself completely, the emotions are shifted from the objects and are reflected back with the unique and always complex message of the artist.
Think of "Si el tiempo no lo impide", how death is in all objects, in the subdue and silent reflection of things, in the atmosphere that perimeter the scene and that leads us to an answer that maybe does not exist, and for this reason is even more definite.
Death, or better its essence, is near us every moment.
Are we bullfighters or else?
And maybe just in this artwork, the idea of the absolute is more clear than elsewhere.
If we dare to say that art is message and communication, here we discover these elements in e every detail, in every brush stroke.
We can find the same strength in the most various subjects, including his portraits.
Who doesn't see the sharp irony and the extraordinary intelligence in the look of Mario Soldati, painted by Tafuri in 1989?
Who, among us, remembers his books and the unforgettable films, will find in the painting his tragic mood and his great observant talent, as an observer and stern narrator of an era.
The idea, and the continuos and relentless comparison with reality remains the only dimension for an exploratory work, therefore analytical of the character of the human subject.
The essential of "Chiara", defers to a distribution of space (knowledge of the pictorial void) which is almost metaphysic, and yet it offer values which can be captured by anyone.
It is the air which we referred to before.
It is not a mood, a mediocre means and pictorially trivial, but a reconstruction of the message in every part often whole. Few are the contemporaries of this talent, of a maturity that can communicate even where there is no stroke.
These are the missing verses of a poem, basically, the expressive void of abandonment.
The sacred, another important aspect of the Tafuri's art, does not have any rules, any ideological dogma, but the individual's suffering, the desire of redemption, the divine carnality in all its opposites.
Again, we are facing the study of humanity, of the drama, of the lived tragedy.
With out any pleasure, with out any superficial reference to academic.
A complete analysis would require much wider spaces.
The evolution of this artist, the deep intellectual honesty of this man, are evident in all his paintings: from the first, deep and exciting proofs for which we give documentation ("Il debutto" of 1968), to the material synthesis of the latest paintings, which are the evidence of constant study and research. In particular, we would like to bring to your attention "Senza titolo", one of is latest works, a significant example of the strength of his artistic expressions.
It is impossible for the observer not to grasp the terror, the anguish, and the universal bewilderment of the human condition.
Death follow in the shadow each one of us, death caress our shoulders like a lover, emerging silent from the shadows of darkness given birth by the unconscious.
A shadow which is we and our fears, we and the history of how we have lived.
We are facing a subject: the man portrayed is the Man!
Tafuri is one of the few representatives of a vision of art, which is respectful of its forms and of the values, which assumes.
The figurative art and even art "tout court", should acknowledge the commitment of this artist and his research.
Maybe it is magic!
Tafuri has the rare ability to connect the great tradition with the closest human kind with our daily life.