Nicola Migliozzi

Nicola Migliozzi liberates the mythology and the classical culture from the barriers of time, handing it over to the next generations with the delicacy of poetry. He has chosen to paint on lava stone, an original support tied to his native soil. He has rediscovered ancient techniques like the technique of Pompeian painting, creating fragments that appear to come from an ancient past to tell stories that have value also for our days.The characters that he represents are Ulysses, Calypso, the classic Divinities, the Masks of the theater, evanescent figures inspired by the frescoes of Pompeii, recalling heroic deeds with the sensitivity of a poet. Intrigued by his works I decided to learn more about this artist asking him some questions.

Q: Maestro Migliozzi, what does it mean for you being an artist?

R: Each person defines the term artist as he wants, with respect to their sensitivity and culture. Therefore it is wrong to tie this term to a single definition.For me, the term artist can mean the ability to think about an idea and implement it to perfection, which is to transfer their feelings on various materials Essential conditions are : commitment , capacity and sensitivity.

Q: One of the supports on which you paint is lava stone and the subjects are drawn from the classics. Which personal and artistic journey has led you to make these choices?

R: It was Art itself which came looking for me.It has found me when I was in the cradle and at the age of four years has guided my hand, making me scribble on the freshly painted wall of our living room .My mother, who was not very pleased to have an artistic son, scolded me harshly.For years I have followed the Masters Fortunato Iodice (sculptor) and Giovanni Ragozzino (painter) who have illuminated my artistic journey, leading me towards my daily work. I was fascinated by all of the pictorial, sculptural and graphical techniques. In recent years I have developed the technique of painting on lava stone and the technique of Pompeian painting. As for the painting on lava stone, the compactness of the materials used and the subsequent firings in special ovens make this work practically indestructible. The forty years of research on the Pompeian painting led me to the conviction that it is neither fresco nor encaustic, but a suggestive technique that approaches the tempera.Some critics (including Claudio Strinati) have found my experience interesting. The art of the past is like a great mother who welcomes everyone, and everyone should respect, admire and study it.

Q: How do you work? When you start, do you already have an idea or do you find inspiration in a poetry, a landscape or people you encounter.

R: I work on a daily basis following an idea that I can change in the course of work, anything can be a source of inspiration.

Nicola Migliozzi and the poetry of myth