While stylistically consistent with his previous works, it is immediately clear that Rosario Tornatore's new series of paintings takes a new direction in the unfurling of abstraction. It is a style that aims to describe the surface (albeit the two-dimensional one of the painting) as a place of simultaneous and multiple spatial events. Here, the most basic geometries - the cube and the sphere - interact in a linked projection of sculptural phenomena and chromatic energy forming a network of multiple luminous interferences; a molecular system of luminous structures permeates the imaginary universes of his amazing cosmological visions. Tornatore continues in his attempt to build possible (perhaps non-existent, certainly invisible) worlds; better yet, he uses his artistic genius to make these worlds visible. Using the exclusive means of painting and his own sensitivity, he transposes the unspeakable metamorphosis into a seemingly complex nuclear dynamis, yet one which is governed by shared, fundamental principles. A dynamis that is truly vital and is therefore free to become its own "icon", using the regulating light that constitutes the foundation of every "design", every "perspective" of its hypothetical or calculated formal definition. Yet no line and no colour can truly encompass it, far less make it a “representative” object (even symbolically).
For Tornatore, the higher world of light (not physical, atmospheric light) is part of the transcendent nature of creation. It is mirrored - in an equally indescribable way - in the iridescent architecture of these geometric labyrinths, these infinite chromatic inlays which show that they can protect (or at least invoke) some aspect of its secret origins. Tornatore has set himself the somewhat challenging (indeed, rather reckless) task of gazing out over a horizon which has no limits. However, he is well aware of setting out on a journey towards a figurative dilemma that doesn't ask to be solved by trial and error; instead, it relies on the most extreme paths of his sharpened inner life. He probes the visionary depths and makes his canvases blossom with equally consistent but entirely original images, not unlike Mondrian's final "abstractions". Employing the same Cartesian rigor, he astonishingly merges it with the lyrical wanderings of Kandinsky's spiritualistic conceptions. Reaffirming the same freedom of formal ideation, he creates a visual symphony of chromatic tones - a luminous force that expands and is reflected in the geometric scores of these new compositions.
The same operating principle can be found in the dynamics of the artist's formal structures, where an image is created by determining the progressive relationships and different consequences of the same geometric elements - cubes and spheres - and iridescent chromatic grids. Rhythmic sequences are scaled or alternated according to golden proportions and tonal scales which, as they are surprising and unpredictable, sometimes even exceed their accepted registers. Yet everything is focused on potentially transforming the two-dimensionality of the surface into an indefinite space: space is destabilised with the same architecture as spatial, cosmic light.
The effect is clear on the immediate visual impact: the forms and colours seem to advance and recede from the viewer at the same time, with equally imminent yet elusive recesses and projections. But Tornatore is not interested in retracing the phenomena of mere perceptive objectivity, and even less in introducing bewildering optical disturbances; if anything, he strives to clarify and elucidate the process with which he created the image - an image of that invisible reality which operates in the work with its incomparable presence.

Toni Toniato