A paradox seems, but Freud, from admirer of Rembrandt and of the classicism, hated l' modern art to him contemporary, a lot write in a letter of 1920 that even the expressionist did not be able to to be called artists.
A huge mistake, seen dall' today, the more that the scardinamento of the certainties produced from the same psychoanalysis has then allowed and given dignity also all' pictorial expression plus total, open, that is all' abstractionism that I would define "intimist ", because driven from a sort of automatism that produces free crossings and meetings of colors and of strokes, under l' wave of a pure and personal emotion.
Sergio Davanzo return in this rent, with intense his works and, above all, "vibrating" from the moment that this type of painting has alone significatività if produces nell' observer a sense of sharing, of instinctive sharing, not explicable, in absence of the subject, if do not across the capacity dell' artist of to reveal if underground communication of channels means same.
In this it consists the peculiarity of Davanzo and of how many, but not a lot, like he succeed to be involving simply in their informal autonomy. If this, however, it happens, to want also to say that Davanzo it knows to make use of itself of an universal “metalinguaggio”, not plus iconico, that goes beyond every culture and flavor, transcending the reason to approach to the striking down consciousness of to discover in a painting the ours common humanity.(Fabio Favretto)