(with a note by Vittoria Coen, art historian, critics among the most successful in contemporary painting)

Imagination and freedom are two distinctive marks of Filippo Rossato’s deep love for color and matter, both in sculpture and painting. In my opinion it is a natural and extremely instinctive drive which characterizes the artist’s act of creation; even though it is supported by a technique and a general mastery of the medium.
Filippo Rossato would move in this way in every situation and environment, diving into color as into a dimension, an imaginary but real dimension, which imposes itself. Of course we can sense and somehow read traces and shadows of shapes in the bidimensional works, whereas the ceramic sculpture clearly reveal a reference to myth and to a “Jurassic” universe.
In the tangled images of his latest works signs come and go, directions multiply and are meant to be a continuous contradiction, drawn by a hand that is impatient to be everywhere, to explore a territory of vertical, horizontal and transversal lines, both rigid and soft, a territory of thin mazes, sometimes lit by a silver color whose purpose seems to be to freeze the surface.
Sometimes the color condensation areas create effects that appear to be recognizable, when the color is more “condensed” and has a more pronounced textural effect, but the artist takes us immediately somewhere else.
For instance by analyzing patiently his precise, almost scientific pointillism we can find out myriads of possible images through and extremely sensistive magnifying glass and we can experience every time new visual adventures.
In some works we detect delicate mosaics, in other cases the color breaks into the backgrounds and fills the space creating unexpected effects, such as rich and detailed seabeds. It seems that there is a sort of prescience, of inborn intuition. Internal structures, networks and arcs are moving continuously, lit by a very special light that appears in the full universe of signs and extreme chromatisms.