SALVATORE ZOFREA THREE GODS
Zofrea understood quite early in his development that music could nourish his creativity. He is as inspired by composers and performers as he is by painters from the early Renaissance to the modern. The language of symphonies and operas — not notes on a page, but the intensity of the engagement of multiple sounds and gestures conveying at once particular and ambiguous meanings and emotions — moulded his painting’s language. The more he listens and watches, the more his own creativity evolves.
Zofrea’s paintings, drawings and prints have matured from his “Psalms” paintings into the “nature and light” works which have dominated his last eight years. During these years, he reached a turning point in his compositional methods. He is enticing us to experience the merging of music and poetry as a kind of esoteric sensation. For instance, he uses the four movements of a symphony as a device for his monumental , 2012–ongoing. These paintings will present the day in four parts – morning, midday, afternoon and night. He uses recurring motifs by applying short and long brush strokes that are like thousands of rhythmic musical notes to harmonise his . The layers-uponlayers of brush strokes create dimensions in time and space. In his composition Zofrea has embodied the symphony score , 1905–08, by Scriabin. When the is completed, the one hundred canvas panels will form a 400 foot (122 metre) circle, which will provide the physical immersion of Zofrea’s vision of nature and light in the form of a day. COVID-19 closures delayed the exhibition of the second , the twenty-five panel , 2021, at the Australian Galleries exhibition until May this year. The exhibition will also present an additional forty-two new paintings on the theme of nature and light.
