Vincenzo Musardo was born in Galatone, Lecce, in the Salento area on the 13 January 1943. He completes his artistic studies in Lecce from where he graduates. Afterwards in Charleroi , Belgium he continues his studies as an auditor at the Art School. He lives there for 10 years working as a designer and sculptor in the workshops of Gres-Guerin and Dubois in Bouffiouls.
During these years he exhibits at the Europac in Bruxelles; he is prize winner at the "Prix Italienne"in Gilly, at the Palais des Congres of Liege and at the Grand Palace of Anverse.
He produces a clay sculpture for Queen Fabiola.
Musardo distinguishes himself above all as the creator of the ORBITALS movement.
But it is his paintings that receive major consents winning acknowledgments and prizes from the critics and jury.
His works entitled " Parallel Erosion" on show at the Palais des Congres in Liege,receive over and over again the prize "Graindorge-Societè Royale des Beaux Arts...
“...Vincenzo Musardo whose works in the lines of kinetic art seem to be crossed by a breath of wind that changes its shapes...”
He returns to Italy in 1973 where he has exhibitions and studies archeolgy.
In the same year he is awarded, by the International Jury, the "III Michelangelo d'Oro" for a three dimensional painting ( François Apollinaire France, Antony Harris England, Schrieferes Germany .)
From 1974 until the end of the 80's he creates and developes the "middlearchaic" art.
From middlearchaic to "citation" is a short step. Citations that seal the end of the "formal creativity"
Simple structures of the memory in which the only purpose is a strict "edifying process" and it is in such process the real reason of creative possibility. His works don't look like polymaterial oils on canvas anymore but in the new context of "Stone Integrated on Canvas",which activates the eternal dualism of the law of the "Complementaries".
The extraordinary effects of the art works instinctively send one back to the historical reasons from where they started and become an opportunity for the latest considerations by the critics..."Imaginative temperament of an artist who has in his unconscious archaic memories of this mythical-magical land that is Salento"...Paolo Levi - Arte,1990
Together with the scholar Emilio Benvenuto, the "painter that carves the canvas" carry out research work into the Ecclesiastic History and Christian and Byzantine Archeology in Salento.
Since 1977 Musardo has a professorship at the Art School in Foggia and currently in Bari.
Since 1959 he has had numerous personal and collective exhibitions.
Many of his works, sculptures and paintings can be found in museums, public buildings, art galleries and private collections.
polymateric oil on canvas or wood.
"VINCENZO MUSARDO’S TANGIBLE DREAMS" by Paolo Levi
Since the beginning of his expressive research - we are talking about more than forty years ago - Vincenzo Musardo explores a more classical figurative.
The technical means used by Vincenzo Musardo - I would say an alchemical use of earth, water, air, and "fire" has, however, its mystery (the artist does not help us with clear revelations). Yet these works of his, where the pigment surrounds and engages with earth reliefs, have a virtue of their own that does not prevent you "seeing" what there is behind of old and present, of dense and "lost."
His representations are of silence, amazement, visions of memory
There can be numerous interpretations of the pictorial production of this European master of Mediterranean roots. He is a painter of figurative cross- references ,of wise and continuous visual interferences ,of exchanges between shapes of games and figures of deliberate baroque art of Lecce .
In the history of modern art, if you want to try and give a scholarly authorship to Vincenzo Musardo’s work, you can find that a small part of it derives from the experiments of Mario Sironi. As the great Sardinian introvert ( Milanese by adoption ) , even our Master opts for archaic forms - in his case , however, of Apollonian form- of ever strong energy, because for both of them the image should be absolute. The material-plastic subjects of Vincenzo Musardo are , in fact, far from the relativism of the news and do not draw on any mythical- historical event . They are narratives , stories deliberately interrupted , where the artist seems to favour, the fiction of history transformed into a mythological game, more than life .
It's Vincenzo Musardo who defines, appropriatly, his figurative research as “metarcaica.” The results are within sight: one is met, in fact, with images of great importance and undoubted originality, reflection of composure of rhythms, extraordinarily free and pure. He seduces but at the same time he himself is seduced, thanks to his plunging into the archaic-primitive memory, made of icons (often he refers to the goddess Ishtar), of visual games, completing with the past, not only greek, but also Egyptian , Etruscan and Byzantine periods.
The composition of materials on which the "Master, that sculpts the canvas" works , on one hand slows him down making the execution of the works more difficult, on the other hand enhances the complex process, the moment for reflection and the anxiety of the result: each work carries with it an emotion amplified and enriched by a deep and viceral commitment.