The Art of Nino di Simone

Manhattan, November 1999

L' Arte di Nino di Simone

     Two Acclaimed Outdoor Exhibits

• Sculpture Garden at Lincoln Center
  • Acclaim
• Stations of the Cross at Eagle Park
  • Acclaim

NinoDiSimone.com

     In this Exhibition of Fifteen Individual Statements, the coherence, aesthetic relationship, the harmony of each sculpture with another is explicit.  Yet similarly strong is the individual personality and character of each: Romantic, Patriotic, Architectonic, Feathers, Foliage, Tall Vertical Planes.  All colors vibrant, radiant, sensuous.
     The mystery of the materials - are they cement, bronzes, ceramics - ? - reflect to the Viewer the mystery and complexity of the Professor's mind and dreams.  Passion and Serenity have coalesced into this prodigious production, compelling the Viewer to retrace from one column to another, to enjoy and analyze the compatibilities and the differences, the symmetry and sequence, the luminous colors.
     A composition of four entities metamorphized into on four-sided sculpture radiates readable disparity in its four distinct revelations.  Though columnar the sculpture is not static but energized by an internal dynamic force.  What are Di Simone's dreams?  Baroque? Dada?  Surreal?  Cubist?  Combining the abstract and the organic, sensuous, even romantic when intimately close.
     Having enriched many institutions with the virtuosity of his figurative historical, religious sculpture portraits, he now challenges us with this significant departure.  To see, to study these is to generate one's own dreams.

Vivienne Thaul Wechter, Ph. D.
Director, Exhibitions and Acquisitions Fordham University

A tour of Prof. Di Simone's Stations of the Cross at EaglePark.org

The Plastic-Chromatic Language Used in Nino Di Simone's "Stations of the Cross"

     The cover of a brochure that was published some time ago illustrating the birth of Castelli's Art School in Abruzzo depicts how the path along which took place the handcraftsmanship and the art dimension of the majolica artists from Castelli unequivocally legitimates the argument that the continuity of this school relives a past that anticipates the future.

     Nino Di Simone's artwork is testimony to the plausibility of this argument.  Even when he puts the future into his work he maintains a vital relationship, as far as research and acquisition of style is concerned, with a superb heritage of labor, brilliance and inventions which we call the Ceramic School of Castelli.

     What flows like vital blood through Nino's work is the calling to this school: a calling which becomes one with the goal, as though it were the trademark of a culture and its training, of what has been done and what is yet to be done,  for these are the terms that allow his creative achievements to thrive and unfold into the creations of his imagination, molding and coloring (just enough to somewhat broaden the shape_ is completely intent in materializing out of a simple expression made out of plastic, and idea or a memory or a spiritual moment, something that transcends matter, something that - while surpassing outbursts of technical wealth inherent in his labor - comes alive and connects his narration to astonishment and astonishment to emotion...

     ...With this work of art, Nino Di Simone has made an impressive contribution towards placing ceramics on one of the highest levels in art which, as such, requires no need for adjectives in order to speak to man's mind and heart.

Romolo Liberale

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