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Acqua 30

Acqua 30

Acqua 30

Portrait of a woman under water. The aim is to convey the sensation of suspension, of the absence of gravity that one feels immersed in water, which translates into a sense of freedom, of separation from the constraints that we are often forced to undergo. The medium was chosen to create the reflections, transparencies and movement of the figure and of the water itself. Compared to portraits, where the inner psychological torment of the subject is evident, through this work I have tried to convey a feeling of freedom, serenity, even if the feeling of loneliness remains. The whole atmosphere is still intimate and silent but now it is also relaxed. Also through the blue color I try to make the observer feel melancholy, but in a serene atmosphere. About the symbolism represented, water and woman represent two sides of the same coin.

Technique: oil on canvas.

Year of construction: 2017.

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Support - Ex.: Frame, Pedestal Wooden frame
Genere - Es.: Fantasy, Still life, Religious, Landscape Aquatic
Subject represented - Ex.: Horses, Fruit, Cats Woman under water
Technique used - Ex.: Oil on canvas, Pencil on paper Oil on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Realism
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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€5,000.00
Ex Tax: €5,000.00
  • Availability: Unavailable
  • Dimensions: 100misura x 0misura x 70misura

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Paolo
Paolo Terdich
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Artista di chiara vocazione internazionale, nato a Piacenza, dove attualmente risiede, dopo aver vissuto e operato in vari paesi esteri in Europa e in Africa.

Le sue opere, che sono state esposte in numerosi eventi nazionali ed internazionali, fra cui si segnalano, nel 2022, la partecipazione alla 59ma Biennale Arte di Venezia, nel Padiglione Nazionale di Granada e una sua personale a New York, sono state acquisite da numerosi collezionisti privati, gallerie, istituzioni d'arte.  Vari suoi dipinti sono stati acquisiti da numerosi collezionisti privati, gallerie, istituzioni d'arte. Diversi suoi lavori hanno ricevuto riconoscimenti in vari concorsi (ad es. il “Premio Arte”) e la sua attività è stata recensita e pubblicata in varie riviste e libri d'arte, incluso "Watercolor - Paintings by Contemporary Artists", in cui Terdich è l’unico l’artista italiano selezionato fra i 21 maestri dell’acquerello.

L’artista è inoltre fra i fondatori (nel 2011) del movimento artistico "Eoykos", composto da sei artisti italiani di espressione figurativa che, in equilibrio tra Surrealismo e Metafisica, intendono dimostrare che l’arte è ancora uno strumento di comunicazione privilegiato, che trasmette sensazioni ed emozioni universalmente leggibili.

Sebbene i suoi lavori siano spesso associati all'iperrealismo, l’artista non è particolarmente interessato alla mera rappresentazione del reale. La sua espressione è finalizzata, invece, a ricreare atmosfere che portino oltre il visibile, a penetrare nel mondo interiore delle emozioni. Attraverso la rappresentazione di un realismo surreale, che si sublima nel ciclo dedicato all'acqua, egli si pone l’obiettivo di proporre quadri che, per dinamismo compositivo e vivacità cromatica, comunichino infinite sensazioni di movimento, libertà, quiete, sospensione. L’utilizzo prevalente del colore blu, come simbolo di tranquillità e armonia, contribuisce all’equilibrio emotivo generato da tali lavori, trasmettendo serenità e relax. Egli si confronta così, con composizioni piuttosto complesse, con una delle sfide più difficili per un pittore: la resa dell'acqua, il racconto dello scintillio della luce su una superficie perennemente in movimento.

I suoi lavori sono stati presentati in varie trasmissioni televisive in occasione di alcune sue mostre in televisioni locali, quali: “Telelibertà”, “Telemilano”, “Gold TV7”, Telemilanopiùblu”, “Telemilano City”, “Canovi arte”. Si ricordano le ultime interviste del 2022: i. alla presentazione della sua opera “Acqua 43” alla 59ma Biennale Arte Venezia 2022, con lo storico e critico d’arte Siro Perin ( https://youtu.be/wzmXbHbgmls ), ii. a Story Time /Radio Canale Italia (https://youtu.be/w62KZcztI9A ), iii. Interview on AGR Press (https://www.agrpress.it/arte/conversazione-con-il-maestro-paolo-terdich-9807 ).

Le sue opere sono state inserite in 15 collezioni on line di Saatchi Art Gallery, dal 2013 al 2022:

Educazione

Il suo apprendistato e la sua maturazione artistica non seguono un iter classico. La sua vocazione inizialmente si manifesta attraverso un personale approccio al ritratto, eseguito soprattutto a grafite e a carboncino, in cui si evince il ruolo essenziale del disegno che costituisce, con pari dignità rispetto ai lavori ad olio, un passaggio determinante nel processo che porta al compimento delle sue opere. Il suo linguaggio pittorico viene, nel corso degli anni, raffinato attraverso un continuo processo di elaborazione e sperimentazione di tecniche e di stili differenti.

Collezioni

Le sue opere sono in possesso di diversi (una sessantina) collezionisti in Italia (tra gli altri, il Direttore d’orchestra Maestro Riccardo Muti, che possiede un suo ritratto realizzato dall’artista) e, soprattutto, all’estero.

Alcune sue opere sono esposte in permanenza nelle gallerie: “Saphira&Ventura Gallery di New York”,  “Spazio Rosso Tiziano”, “Atelier d’Arte”, “La Spadarina“ di Piacenza e “Flora Holland” di Naaldwijk (NL).

Il Monastero Mater Ecclesiae (Lagos Nigeria), ispirato dal Beato Papa Giovanni Paolo II, possiede due tele donate dall’artista.


Paolo Terdich conta circa 130, fra articoli, recensioni e critiche,  redatti, dal 2000 al 2022, da parte di circa 60, fra critici e storici d’arte, curatori, esperti e giornalisti specializzati, fra cui si ricordano: Fabio Bianchi, Giovanni Chiara, Leslie Dutcher, Guido Folco, Carlo Francou, Susanna Gualazzini, Eve Lemonidou, Paolo Levi, Elisa Manzoni, Patrizia Mazzei, Alberto Moioli, Liviano Papa, Alfredo Pasolino, Stefania Pieralice, Daniele Radini Tedeschi, Rosi Raneri, Caterina Randazzo, ecc.

..........


Artist of clear international vocation, born in Piacenza, where he currently resides, after having lived and worked in various foreign countries in Europe and Africa.

His works, which have been exhibited in numerous national and international events, among which we highlight, in 2022, the participation in the 59th Venice Art Biennale, in the National Pavilion of Granada and one of his solo shows in New York, have been acquired by numerous private collectors, galleries, art institutions. Various paintings by him have been acquired by numerous private collectors, galleries, art institutions. Several of his works have received awards in various competitions (e.g. the "Premio Arte") and his activity has been reviewed and published in various art magazines and books, including "Watercolor - Paintings by Contemporary Artists", in which Terdich he is the only Italian artist selected among the 21 watercolor masters.

The artist is also one of the founders (in 2011) of the "Eoykos" artistic movement, made up of six Italian artists of figurative expression who, in balance between Surrealism and Metaphysics, intend to demonstrate that art is still a privileged communication tool, which transmits universally readable sensations and emotions.

Although his works are often associated with hyperrealism, the artist is not particularly interested in the mere representation of reality. His expression is aimed, however, at recreating atmospheres that lead beyond the visible, to penetrate the inner world of emotions. Through the representation of a surreal realism, which is sublimed in the cycle dedicated to water, he aims to propose paintings which, for compositional dynamism and chromatic vivacity, communicate infinite sensations of movement, freedom, stillness, suspension. The prevalent use of the color blue, as a symbol of tranquility and harmony, contributes to the emotional balance generated by these works, transmitting serenity and relaxation. Thus, with rather complex compositions, he is confronted with one of the most difficult challenges for a painter: the rendering of water, the story of the sparkle of light on a perpetually moving surface.

His works have been presented in various television broadcasts on the occasion of some of his exhibitions on local televisions, such as: “Telelibertà”, “Telemilano”, “Gold TV7”, Telemilanopiùblu ”,“ Telemilano City ”,“ Canovi arte ”. The last interviews of 2022 are remembered: i. at the presentation of his work “Acqua 43” at the 59th Venice Art Biennale 2022, with the historian and art critic Siro Perin (https://youtu.be/wzmXbHbgmls), ii. a Story Time /Radio Canale Italia (https://youtu.be/w62KZcztI9A ), iii. Interview on AGR Press (https://www.agrpress.it/arte/conversazione-con-il-maestro-paolo-terdich-9807 ).

His works have been included in 15 Saatchi Art Gallery online collections, from 2013 to 2022:

Education

His apprenticeship and his artistic maturation do not follow a classic process. His vocation initially manifests itself through a personal approach to portraiture, executed above all in graphite and charcoal, in which the essential role of the drawing is evident which constitutes, with equal dignity compared to the oil works, a decisive step in the process that leads to the completion of his works. His pictorial language is, over the years, refined through a continuous process of elaboration and experimentation of different techniques and styles.

Collections

His works are in the possession of several (about sixty) collectors in Italy (among others, the conductor Maestro Riccardo Muti, who owns a portrait of him created by the artist) and, above all, abroad.

Some of his works are permanently exhibited in the galleries: "Saphira & Ventura Gallery in New York", "Spazio Rosso Tiziano", "Atelier d'Arte", "La Spadarina" in Piacenza and "Flora Holland" in Naaldwijk (NL) .

The Mater Ecclesiae Monastery (Lagos Nigeria), inspired by Blessed Pope John Paul II, has two canvases donated by the artist.

Paolo Terdich has about 130, including articles, reviews and criticisms, drawn up, from 2000 to 2022, by about 60, including critics and art historians, curators, experts and specialized journalists, including: Fabio Bianchi, Giovanni Chiara, Leslie Dutcher, Guido Folco, Carlo Francou, Susanna Gualazzini, Eve Lemonidou, Paolo Levi, Elisa Manzoni, Patrizia Mazzei, Alberto Moioli, Liviano Papa, Alfredo Pasolino, Stefania Pieralice, Daniele Radini Tedeschi, Rosi Raneri, Caterina Randazzo, etc.

One, but three

by Rosa Di Pieria

The undisputed fulcrum of Paolo Terdich's artistic experience is the explosive precision of the details, which drag, like a driving force, the very fine subjects into the agglomeration of cells. Terdich's work tends to be aimed at resolving realistic and hyper-realistic structures; the latter elaborated with precious objects on tables, to preserve an immanent elegance even in the most typically realistic narrative, although the term "typical" does not suit Terdich's creative personality. Among the realistic current he chooses water and aquatic subjects, where on the other hand his meticulousness is representative of the anatomical figuration, of the fixation of objects, of the chromatic with its contours and depth of solids, of the nuances and of the reflections and shadows, as well as of the respect space-time, to the point of appearing hyper-realistic. He, who does not limit himself to portraying the scene in everyday life, also pays attention to the theatricality of the work. In fact, in the often sinuous surfaces of those episodes, a multitude of questions shine through - as well as an innate communicative power - which is expressed even in the quietest scenes. This is the expression of grievances that have surfaced from the subconscious. Although the limbs of the swimming subjects may appear, in addition to being expressive, as cut, fragmented and changed into something else, even deformed, as a result of the aquatic distortions, Terdich simply tends to dramatize the kinetic action of the subject with the surroundings. The chromatic balance also plays a fundamental role in the paintings that conform to the context of water, a metaphor of a spiritual rebirth: it is precisely that water with translucent blue tones contrasted by the dark ones that evokes the purity of a matrix, of a regeneration of the spirit and of the body. Upon reflection, the simple act of immersion is in itself a return to origins.

Each subject, with energetic strokes, repeatedly taken to represent the sequential motion of swimming, sometimes finds a harmonious unifying intuition between a "pushed" realism and futurism. The scrupulous and inquisitive realization of Terdich's realism could have foreseen prematurely the transference into the futuristic episode, since both styles lend themselves to the visual scrutiny of knowledge, that is, of the solids that occupy time and space, determining their motion and therefore their to be. A time and a space would vanish, due to the non-existence of objects if deprived of their reflection. In fact, it is in the representative reverberation of objects (subjects and nearby components) that the pictorial author sees his own vibrational Self, all the more automatically marking an internal time and space. In this sense, the artist has exclusive spectatorial investiture, before opening the completed scene to the reflection/communion of collective diversity.

The clearly multifaceted nature combined with the penetrating artistic intelligence leads the person present into the depths of a remote memory, perceptible thanks to the centrality of the figure, which, evoking bewilderment and cheerfulness due to the copious breaths of air, are indicators of peace and resolution; vice versa, they would cause claustrophobic spills due to the same dives.

Persevering within his own distinctive fantastic aptitudes characterized by coherently edifying factors in the work, Terdich accustoms the recipient to the typical novelties of matryoshka constructions and becomes a magician when in the work "Acqua 50", where from the futuristic consecutio of the ordered dynamism of the body, paradoxically captures a realistic, non-interpretable being, moreover similar to the marine context, i.e. a crab in water seen from above. In this context we see him linking with rapid intuition, and also rare fascination, realism, futurism and Arcimboldian parallel creatures.


- Fabio Bianchi, on Libertà: "The painter from Piacenza Paolo Terdich exhibits at the prestigious Biennale", 10th September 2022.

“A painting has been selected by the gallery owners of Saphira and Ventura gallery in New York”.

"Venice. The painter from Piacenza Paolo Terdich had a great intuition: he took up and valued, sui generis, the pictorial figuration, initially suspended between realistic, post-realistic and hyper-realistic instances, which however was confined to often descriptive areas. Terdich has instead introduced a historical variant in the contents, but light and very fresh in the iconographic translation: the figure immersed in water. Over the years, his swimmers have achieved growing success, especially with American gallery owners. The same ones who exhibit his paintings from the "Water" series at the prestigious "Venice Biennale. International Art Exhibition (59th edition)”, i.e. Saphira and Ventura gallery in New York.

One painting (Acqua n. 5) was selected, while another (Acqua 46) was donated by the painter to the charity auction organized by the "Better World" association and the "David Lynch Foundation", sponsored by the actress Sharon Stones , as part of the current film festival.

The canvases with men immersed in water symbolize a desire for rebirth and inner purification represented - in a Christian way - by Baptism; they also have psychological values: fire ignites, water extinguishes; they contain a strong dynamism often linked to travel, almost a viaticum for change; let's not forget the playful and relaxing aspect, water as a rapprochement with nature and ecological reconquest, even an idealized resilience. Terdich's swimmers are therefore an original innovation in the dense and lively blues, a visual enrichment far beyond Pop Art while also avoiding the above all chromatic eccentricities of the much vaunted New Figurative Painting.".


- Fabio Bianchi, on Libertà: “Paolo Terdich on display in New York with “Water”, symbol of rebirth”, 26th July 2022.

“The painter from Piacenza exhibits his hyper-realistic swimmers at the Saphira & Ventura gallery”.

“Piacenza. Maybe it's the fate of artists, but some performers are more famous away from their hometown. Like the painter Paolo Terdich, until 27 July at the Saphira & Ventura gallery in New York with the paintings from the "Acqua" cycle. Terdich has already collaborated with this gallery among the most important in the Big Apple, continuing indicates esteem and convenience. The works in this cycle depict swimmers immersed in water and, conceived years ago, are still appreciated today.

The figurative pictorial culture is criticised, but Terdich instills hidden meanings among various interpretations: the swimmer is a metaphor for the daily difficulties of life and work; the bodies are contaminated with the waves in a mysterious balance.

Terdich belongs to the "Eoykos" Movement, born to claim, between Surrealism and Metaphysics, dignity to the figure. For Terdich "swimmers are witnesses of their dissolution, their consciousness breaks and disintegrates": water as a symbol of life, rebirth and purification.

Technical note: the pragmatic American gallery owners have proposed differentiated uses of his works; in the “phygital” (neologism of physical and digital) the curator Alcinda Saphira shows both the canvases and the NFT (Non Fungible Token) vision on digital screen-panels.

The "Water" cycle reminds us then of the topicality of figure painting which, if combined with religious or philosophical instances, still expresses strong concepts.".


- Riccardo Tonna, in Il Nuovo Giornale: "Paolo Terdich, the painter of water, at the Venice Biennale", 4th July 2022.

"Acqua 43" is the name of the oil on canvas, created by Paolo Terdich, presented on 1 July, at the Grenada National Pavilion, of the 59th Venice Art Biennale, where the well-known artist on the international scene, in front of an audience of experts , spoke of his pictorial studies on the theme of water.

Paolo Terdich is a painter from Piacenza with considerable experience, whose works have been presented in exhibitions and gallery collections internationally. "Making the invisible visible" is the peculiarity of the artist who manages to convey, in his works, even human intimacy and solitude. In the end, Terdich knows how to execute works that manifest a sense of inner peace, immersed in the environment of water, seen as a relevant element of primordial birth, of search for light, towards a dimension of knowledge of the truth or the unfathomable.


Acqua 43: a suggestive work

  “The choice of the Acqua 43 painting - says Terdich - is linked to its affinity with the theme chosen by the curators for the project of the Grenada pavilion in Venice “An unknown that does not terrify”.

In fact, within the "Water" series, this work is rather unique and its particularity lies in the photographic cut that distinguishes it. The figure is represented only partially, obliquely and in the foreground, becoming a strongly characterized element and not easily definable at first glance. This composition and its integration with the medium that contains it, wants to convey a sense of positive confinement, of protection, in a serene and free atmosphere in the absence of weight. The whole context of the painting - specifies the painter from Piacenza - is intimate and silent with the subject who conveys relaxation and fun. The background provides dynamism to the composition, with the figure, which is mirrored, fragmented on the surface of the water and with the multiple refractions and reflections reproduced. The painting invites us to "reflect" on the fact - Terdich points out - that we are often only partially understood and that we have a deeper, more complex, sometimes obscure part that is not immediately understood. I believe that this work represents an important point of arrival in my poetics, in which, once fidelity to the model has disappeared, everything becomes more fluid and imaginative".


Acqua 43 is truly a suggestive work, of considerable value, so much so that, last year, it was selected among the semifinalists of the prestigious "Premio Arte2021".

A new project on the torments of populations forced to abandon their lands

The theme of the Venice exhibition "An Unknown that Does Not Terrify" also allows for an approach to the relationship with other cultures.

“I had the opportunity to live abroad - adds Terdich - in very different countries (from Northern Europe to Africa) for about fifteen years, thus being able to deal with cultures that are profoundly different from ours. I have tried, as far as possible, to understand the cultures and customs of the countries in which I have lived, integrating myself with the local people. I was thus able to deal with artists who use a pictorial language very different from mine, enriching my artistic baggage".

These experiences have allowed the painter from Piacenza to broaden and refine the spectrum of his artistic sensibility.

"I believe that these meeting opportunities - underlines Terdich - will have a greater impact, in terms of pictorial expression and execution, in a new project that I am starting to work on, focused on the tensions and torments of the populations forced to abandon their lands" .


- Fabio Bianchi, on Libertà: "The canvas "Acqua 43" by Paolo Terdich today at the Biennale", 1st July 2022.

“The artist from Piacenza participates in the collective exhibition “Untouchable Feelings”.

"Venice. Painting never ceases to amaze, it is often reborn like the phoenix by displacing everyone. Hegel had already predicted the death of art and in the second post-war period of the last century especially figurative painting was little considered. But some painters have had remarkable intuitions, such as Paolo Terdich, who until November 27 is participating in the "Biennale Arte 2022 - 59th international art exhibition" in Venice.

It is not a surprise for us: we know of his dynamism, his motivations and the crescendo of the past months. Terdich, in fact, in April was first among the protagonists of "Deconstruction", a group show at the "Saphira & Ventura gallery" in New York; then of a group show in Portofino, where his NFTs (Non Fungible Token, a cryptographic element that can take the form of any digital file) were screened. Then, from 17 to 25 June, paintings by him were in "Delicatezza", another interesting group show, this time at the "OnArt gallery" in Florence.

Terdich's small-large tour then continues at the prestigious Venice Biennale, Grenada National Pavilion, with the canvas "Acqua 43". In this work Terdich relaunches his pictorial mantra, with human beings immersed in the blue liquid.

But the strength of his message lies in the narrative intensity: is the man re-emerging or is he perhaps suffering the violence of the blue volume? Are his figures perhaps a metaphor for the crisis of contemporary man? His subjects, highly original moreover because no one had ever proposed these themes with such colorful evidence, have been telling us daily counter-stories for years.

As in Hemingway's "The Old Man and the Sea", we witness the battle for life, for survival, to reassert ourselves despite the invasiveness of water. But – here's another point in his favor – the water is always mottled and seems to contain the colors of nature: here is the ecological issue, an ever more convincing sustainability, almost a return to the origins for the bewildered contemporary man.

We recall that the curator of the "Grenada National Pavilion" is the critic Daniele Radini Tedeschi and the commissioner is the artist Susan Mains.

The canvas "Acqua 43" was selected last year for the "Premio Arte" and today there will be the official presentation of the work with an interview with the performer.

For Terdich, therefore, a remarkable opportunity to riaf stop the uniqueness of his style and the internationality of his art.”.


- Alessandro Poggiani, interview on AGR Press (https://www.agrpress.it/arte/conversazione-con-il-maestro-paolo-terdich-9807 ), 28th June 2022.

On Friday 1 July 2022 at 17.00 at the Grenada National Pavilion, at the 59 Venice Art Biennale, a conversation will be hosted with Maestro Paolo Terdich, a well-known artist on the international scene, who will talk about his studies in front of an audience of experts paintings on the theme of water.

The latter is linked to one of the thematic strands of the entire exhibition, that of the journey metaphorically understood as going beyond the human and discovering a different identity terrain that must be embraced and accepted. In this regard, the "Poetics of Relationship" or the "Philosophy of Relationship" by the Martinican intellectual Edouard Glissant are illuminating, where every journey is equivalent to migrating towards new identities and rediscovered relationships. Thus water, for Paolo Terdich, is functional to the «death of the image, with its decomposition and alteration», as written by Stefania Pieralice, and again the «underwater swimmers are witnesses of their dissolution, where the consistency breaks and disintegrates, where identity drowns».

The appointment, with free admission, is at the Giardino Bianco Art Space in via G. Garibaldi 1814, in the Castello area (Venice).

We had the opportunity to interview the Master to better understand his research.

What meaning do you attribute to water, present in many of his works?

I began to dedicate myself to the composition of subjects in water for about seventeen years, to combine a realistic representation of the figure with the effect of the medium, which with its fluidity, its refractions, transfigures the contours of the characters represented. With the representation of water and its play of light, which generates unusual, distorted and complex patterns, altering the perception of everyday images, I try to make the overall composition less defined, more mysterious, sometimes almost surreal, metaphysical. In these works I leverage my expressiveness to create the experience of the invisible through the visible. Thus I try my hand, with rather complex compositions in one of the most difficult challenges for a painter: the rendering of water, the story of the sparkle of light on a perpetually moving surface. Water, the main protagonist of the narration, merges with the human figure, dressing it with new life. Immersed in the transparent liquid, whose symbolic component is rooted in the sacredness of baptism, purification, rebirth, transformation, reflection, the human figure gets lost in it, letting the water alter its contours. My transparencies explore the possibilities of perception of reality and the field of the visible thus becomes the space of vision and colour. The water therefore becomes a container of light, a territory of vision, a mysterious narration of inner nodes.

Looking at his production, the work Acqua 43 has a perspective, in the depicted subject, different from all the others, can you talk about it?

In the context of the Acqua series, this work is rather unique and its peculiarity lies in the particular photographic cut that distinguishes it. The figure is only partially represented, obliquely and in the foreground, becoming a strongly characterized element and not easily definable at first glance. This composition and its integration with the medium that contains it, wants to convey a sense of positive confinement, of protection, in a serene and free atmosphere, in the absence of weight. The background provides dynamism to the composition, with the figure mirroring itself, fragmented on the surface of the water. The painting invites us to "reflect" on the fact (represented by the subject in the foreground) that we are often only partially understood and that we have a deeper, more complex, sometimes obscure part that is not immediately understood (the background with its fragmentations, refractions and dynamism ). Last but not least, the almost fetal position of the portrayed subject recalls the symbolism of water as an element of primordial birth, a search for light, towards a dimension of knowledge of the truth or the unfathomable. I believe that this work represents an important point of arrival in my poetics, in which, once fidelity to the model has disappeared, everything becomes more fluid and imaginative.

What technique does he use to achieve the hyper-realistic effects of his works?

As a medium, I mainly use oil, as a support, canvas. In the case of still lifes and portraits, I often use a finer textured canvas for better rendering of detail, and for works with water I sometimes use acrylic to enhance the effect of transparency, refraction and of depth. The figures that are immersed in it are Made with oil, to highlight tonal values, reflections and light effects on the skin. I generally work for overlapping glazes for a better yield of transparency.

Does the color blue, the protagonist of the work in different tones and shades, have a particular symbolic function for you?

Given that I have a natural predilection for the color blue, in its many variations and shades, in fact, I mainly use this color, especially for the Acqua series, for its symbolic value of tranquility and harmony. The glazes, superimposed in different shades, generate transparencies that seem to explore the possibilities of perception of reality. The field of the visible thus becomes the space of vision and colour. Even in the creation of still lifes, blue is present, which, in my opinion, helps to generate a substantial emotional balance and to transmit sensations of peace and serenity. The use of blue, its transparencies, the sharp, pure, sculptural light, provide a dynamism to works that are static in themselves, which are thus transformed into metaphysical presences, emblems of a state of mind.

The title of the exhibition of the Grenada National Pavilion is “An Unknown that Does Not Terrify”. In this regard, having lived abroad for several years, what approach do you adopt in relation to other cultures?

I had the opportunity to live abroad in very different countries (from Northern Europe to Africa) for about fifteen years, thus being able to deal with cultures that are profoundly different from ours. I have tried, as far as possible, to understand the cultures and customs of the countries in which I have lived, integrating myself with the local people. I was thus able to deal with artists who use a pictorial language very different from mine, enriching my artistic baggage. These experiences have, to varying degrees, made it possible to broaden and refine the spectrum of my artistic sensitivity, while maintaining faith in a well-defined personal artistic line. I believe that these meeting opportunities will be able to have a greater impact, in terms of pictorial expression and execution, especially in a new project (of biographical interest) on which I am starting to work, focused on the tensions and torments of the populations forced to abandon their lands . In the work that I will create, I expect to use a new technical approach for me, detaching myself from the faithful representation of reality, while seeking a technical challenge in the execution of the works.


- Stefania Pieralice, review, for Paolo Terdich's participation in the "Biennale Arte 2022 - 59. Venice International Art Exhibition - Grenada National Pavilion - An Unknown That Does Not Terrify", 28th June 2022.

Curator: Daniele Radini Tedeschi. Commissioner: Susan Mains.

“Swimmers under water witness their dissolution, where consistency breaks and disintegrates, where identity drowns. Here then, with Terdich, we witness the death of the image in the crystalline wash, with its alteration and decomposition. Who knows if re-emerging is purifying and saving for the soul or if, in the Master's subjects, the fall of the form sinks into the darkness of the seabed, once and for all, due to the inability to love and to be. Because water is melancholic, it observes the reflected world and erases it, it swallows the shadows as if it were the grave of all that is destined to perish.

Terdich recounts the transience of life by associating the fate of water with that of man in which the "flow" is an allusion to the irrevocability of time lived and now lost. And so his swimmers try to "stay afloat" in search of a makeshift boat or a helmsman who can drop anchor in the happy port of faith and hope.".

2021:

- Fabio Bianchi, on Libertà: “Acqua”: Terdich in Paris with the figures immersed in a magical blue”, 29th March 2021.

"The painter from Piacenza exhibits his canvases in a solo exhibition at the Galerie Sonia Monti".

“The painter from Piacenza Paolo Terdich has been developing a very personal iconography for years, of growing success especially abroad. After participating in an important group show in Florida last month, Terdich returned to Europe. Until March 31, his works will be visible in the solo show at the Galerie Sonia Monti in Paris (6, Avenue Delcasse 75006). Here he exhibits paintings from the "Acqua" series (mostly oil on canvas, medium formats), that is, bathers either immersed or emerging - precisely - from the water. What do the figures of him suspended in a magical blue tell us today? Vitality of water, a primordial element, between history, philosophy and pantheism, but also the need to purify oneself. The ancients worshiped divinities (Poseidon) and semi-divinities (Nymphs) to protect the sea and waterways. Baptism and the Great Flood then indicate - metaphorically - a beginning and an end.

Terdich then intuited the actuality – visual and figurative – of water; bathers could yearn for contacts – epithelial and spiritual together – regenerating. From primordial chaos (Water n° 43) to an attempt to control (Water n° 33) to a newfound stillness (Water n° 49). And, hypothetical point of arrival of this production, a mystical configuration in the characteristic cross pose of a bather (Acqua n° 47).

Terdich's hyperrealism is increasingly – as a cultural framework – a trend, general and still practiced; as a style, on the other hand, it is a tool for expressing very original contents with graphic immediacy.

His characters therefore become more and more protagonists of a hyper-daily life, of an almost sacred dimension of our life. ”.

- Fabio Bianchi, on Freedom: "Collective in Florida, there is also Terdich with his still lifes", 22nd February 2021.

"The painter from Piacenza in Palm Beach offers refined canvases between colors and transparencies".

“The painter from Piacenza Paolo Terdich has acquired international prestige in a few years by moving into hyperrealism. In fact, he has taken up that approach born in the 60s in the USA with precise aims: from the illusion of reality to exasperated realism as a suspension of judgment towards making art. In Italy this trend has had mixed fortunes, but Terdich has personalized and modernized it: focusing on subjects of great impact, he has mediated tradition and innovation. He has thus convinced great gallery owners, as demonstrated by his participation in the group show set up in Florida these days. Terdich exhibits at the “County Convention Center” (650 Okeechobee Boulevard, West Palm Beach 33401). thanks to the synergy between “Paul Fisher Gallery” and “Saphira & Ventura Gallery”, big names in artistic promotion. It presents its characteristic compositions: still lifes that renew glorious glories and bathers emerging from the water. The still lifes remind us how much that model - once very widespread in the bourgeoisie, not only in Italy - is very current today. The "ut pictura poesis" has in fact over the centuries bewitched authors and patrons of still lifes, later establishing itself as an autonomous genre. The colors and transparencies of Terdich's canvases prolong – in an always timeless dimension – their historical, technical and stylistic value.

His bathers, on the other hand, constitute an iconographically intriguing invention: as they emerge from the water, they appear to be new divinities. And here the influence of Pop Art could be grafted as an exaltation of the everyday on our imagination. These subjects are striking for their simplicity of conception, difficulty of execution, dialectical complementarity with photography. Last note: in this collective there are also works by Picasso, Warhol and other greats.”.

2020:

- Riccardo Tonna, on Il Nuovo Giornale: "Paolo Terdich, the painter of water, on display in Florence until July 23rd", 16th July 2020.

“The artist from Piacenza with an international vocation participates in the collective “Silenzio”.

“Water, symbol of life, purification and vigor is transformed into a territory of light and reflections. This is the world of Paolo Terdich, 60 years old, a painter from Piacenza, with a clear international vocation, who has exhibited in numerous personal exhibitions and international events, receiving prestigious awards.

FROM SAN FRANCISCO TO NIGERIA. We remember his personal exhibitions at BiffiArte (2017) and Spazio Rosso Tiziano in Piacenza (2018, 2015 and 2009), at the Italian Embassy in Nigeria (Abuja - 2010) and at the Italian Cultural Institute in Egypt (Cairo - 2000). Some of his works are permanently exhibited in various Italian and foreign galleries and institutions. His works have been published in various magazines and art books, including "Watercolor - Paintings by Contemporary Artists", published by Chronicle Books of San Francisco, in which Terdich is the only Italian among the 21 masters of the selected watercolor. The conductor maestro Riccardo Muti owns a portrait of him made by the artist. Two canvases, donated by Terdich, are exhibited at the Mater Ecclesiae Monastery in Lagos in Nigeria: they are inspired by the figure of the Holy Pope John Paul II.

THROUGH THE VISIBLE, TALK ABOUT THE INVISIBLE. In his works Paolo Terdich enunciates the inspiration of his expressiveness on which he leverages to obtain the most ambitious of aesthetic objectives: through the visible, to realize the experience of the invisible.

The setting of the painter from Piacenza is figurative-surrealist, it is articulated and transformed into a representative space that weaves stories and tales aimed at exploring its visionary reality. Through a silent and intimate realism, his canvases convey feelings of expectation and mystery, from which an inner torment shines through. In his subjects he communicates his restlessness, which emerges from the characters he depicts with an energy, in which lights and shadows seem to vibrate together. A sense of intense solitude dominates and his person Today, illuminated by a soft light, they are portrayed in everyday environments devoid of spectacularity, in which they assume an air of poetic suspension and intimacy. Original, in the interpretation of light and in the choice of subjects, his still lifes, extremely realistic, which, thanks to the pure, sculptural light, are transformed into metaphysical presences, emblems of a state of mind.

THE EOYKOS GROUP. Terdich is Terdich is one of the founders of the group, of metaphysical-surrealist matrix, "Eoykos", born in 2011 and composed of six artists, who through the expressive potential of their figuration, intend to demonstrate that art is still a communication tool privileged, which transmits universally readable sensations and emotions. The artists, virtuoso craftsmen of the palette and plastic art, move in a land poised between Surrealism and Metaphysics.

Until July 23, Paolo Terdich participates in the collective exhibition "Silenzio", in Florence, in via della Pergola 57, where some of his most significant works are exhibited. ”.

- Alberto Moioli, on Il Giornale: "Let's dive into the hyper-realistic waters of Paolo Terdich", 9th May 2020.

“In 1973 the word “hyperréalisme” appeared for the first time; it was coined by the gallerist Isy Brachot, who opened the season of a successful artistic movement. Paolo Terdich belongs to this interpretation of pictorial art in which the qualities of attention and precision converge in every tiny detail. The essential peculiarity, the one that characterizes Terdich's style, concerns the ability to best combine technical skills with extraordinary expressive sensitivity. The artist has chosen to paint elements that belong to his inner need, thus embellishing a pictorial environment with a cultured and refined expressive sensitivity. The water in his paintings is the key element of human balance, a symbol of life, considered by the ancient Greek philosophers the "beginning and origin". The artist reflects on a personal vision, in which the contrasts between symbolic elements dialogue. Natural light and filtered light, good and evil, true and false, man lives within this balance, the masterpieces of Paolo Terdich live in this precarious balance. In the water, the artist finds silence, peace and that balance which belongs to harmony and beauty. The clarity and transparency in the painter's works belong to a depth of thought that is reflected within the rigorous canons of Hyperrealism.".


- Fabio Bianchi, on Libertà: “Terdich exhibits his impalpable swimmers in New York”, 6th March 2020.

“The artist from Piacenza participates in the collective exhibition “Untouchable Feelings”.

“Figurative painting has had glorious traditions, the historical avant-gardes then challenged it. But the Transavantgarde in Italy and, abroad, Pop Art and New Image Painting have partially revitalized it. The approach of the painter from Piacenza Paolo Terdich also reflects these trends in various ways and is gathering feedback everywhere. Among other things, “Untouchable Feelings” was inaugurated yesterday, a group show of important performers set up at the Saphira & Ventura gallery in New York. Until March 20, Terdich will exhibit canvases belonging to "acqua", his last cycle with the characteristic figures immersed in water. By experimenting and veering towards hyperrealism, Terdich has in fact discovered a very attractive trend, captivating in many respects. He has identified and over time elaborated a simple mix, which allows me to represent the figures from various angles. However, always mottled by the intense blue of the water, lively contrasts between white and blue. Also in New York Terdich exhibits a significant sampling of the latest production; almost all oil and acrylic paintings on canvas, medium format. In particular, in “acqua 5” r “acqua 41” the swimmers are shot from above, while in “acqua 38, “acqua 39” and “acqua 40” the gripping point is under the line, therefore the figures are emerging or wallowing. Thus transfigured, the swimmers seem to convey "untouchable feelings", i.e. impalpable feelings between naturalness and luminous transparency. Therefore, with these canvases Terdich proposes a rediscovery of himself, of us and of our corporeity in contact with a primordial liquid, perhaps in contrast with the IT coldness and aseptic digital perfectionism…”.

2019:

- Fabio Bianchi, on “Libertà”: “Terdich, the silent nature”, 7th November 2019.

"The painter from Piacenza at the group show "Still leben" at the Onart Gallery in Florence"

“Still life in the history of art has had fluctuating destinies, always intrinsically poetic. For the strong bond he had both with life - which had just ended with his subjects - and with death, fatal and ineluctable, destined, destined to eternity. Important galleries often take up that genre and what matters is that they come or involved artists of our times, who have already distinguished themselves in that field. Like Paolo Terdich from Piacenza, invited by the prestigious Onart gallery in Florence to participate in the group show “Still leben/Natura silente”. This is one of the most important events of 2019 on the Onart gallery agenda, because "Silent Nature" implies not a philosophy of art, but more.

Terdich has always conceived still lifes as a magical meeting of impulses between past and present. Here he partially changed his chromatic register, supplying highly characterised, aesthetically refined canvases. In fact, they play on the contrast of shadows, often on the combination of white, black and a warm sepia to reiterate that dark intersection between playful vitality and desolating coldness.

- Fabio Bianchi, on Freedom: "The hyper-realism of Terdich in New York, 1st September 2019.

“Painter Paolo Terdich in a few years has acquired a high profile, for tenacity, innovative subjects and refined technique. And prestigious exhibition venues such as Saphira & Ventura Gallery in New York have also taken notice. In fact, in the headquarters at 4W43rd Street, 416, Terdich participates in "Material world", a group show with big names.

Terdich presents canvases of great impact, most of them depicting people swimming in a blue aquatic universe. Where is the news? Terdich could be classified as a hyper-realist, he fits in, it's not a limit, on the contrary it reaffirms his pictorial ability. But painting swimmers from various angles means retracing the human story in transversal poetics. Man, made up of 90% water, can find primordial freedom in the magical blue. Or pursuing an ideal spiritual rebirth in the white mottled water enlivened by the shadows. The strange, but convincing marriage between man and water then relaunches the integration between man and nature and the environment thanks to painting.

Terdich also exhibits paintings with objects - ornaments - of extraordinary clarity and crystalline purity. Neither academic nor neoclassical, just a lover of painting as a photographic-like representation of the "material world", that is, of the physical universe.

In this context Terdich is therefore the most European of the various painters, certainly the most figurative, but also the most intriguing and the most impressive".

- Alberto Moioli, in the monthly magazine "Archivio delle Arti" - "Berlin, Von Zeidler Art Gallery, from 22 March to 6 April 2019 - Maurizio Brambilla and Paolo Terdich" March 2019.

- Press review “Due Mondi a Comparison” - “Von Zeidler Art Gallery”, 22nd March 2019.

  “The art of Maurizio Brambilla and Paolo Terdich arrives in Berlin. After the recent Italian exhibitions in Piacenza and Palermo, the two artists arrive in one of the most artistically demanding European capitals.

The exhibition, which opens on Friday 22 March at the elegant Von Zeidler Art Gallery, is to be considered as a double personal exhibition in which the two artists mirror each other and confront each other with different styles and poetics. The figuration and the unstoppable expressive research is the common thread that unites the two artistic expressions. Italy therefore presents two protagonists of the contemporary art world in Berlin and offers the possibility of getting to know the works up close and, on the day of the inauguration, the two artists…

…Friendship and deep mutual esteem bind the two artists, Maurizio Brambilla and Paolo Terdich, together they have exhibited in increasingly prestigious places in Italy and Europe.

Terdich's painting rises to the rank of masterpiece in the field of hyperrealism by contextualizing each of his works among the best creative expressions in this field. What characterizes and differentiates each work by Paolo Terdich is the ability not to limit himself to even excellent technical ability, the painter puts into every brushstroke all the tension necessary to make us go beyond the visible and to land in the world of emotions, a unique experience and extraordinary.

Marta Von Zeidler, international artist and gallerist from Berlin, hosts until 6 April 2019 a selection of works by Maurizio Brambilla and Paolo Terdich offering the starting point for an international dialogue between Italy and Germany".


2018:

- Alberto Moioli, press release: "Visual Emotions - The emotion of art in the Arona exhibition", 15th November 2018.

“The exhibition on the emotions of art is coming. A collective that takes place on the shores of Lake Maggiore, in the splendid city of Arona, in the place where the lake marks the border between Lombardy and Piedmont. Here, in the "Spazio Moderno" of the Centro Culturale Artistico, in via Martiri della Libertà 38, twenty-four artists will exhibit thanks to the conception and organization of Donatella Canovi. On this occasion I will have the pleasure and honor of being present on the day of the inauguration, Saturday 24 November at 16.00, with a small critical intervention so that I can offer an interpretation for the benefit of all visitors. I wait for you!!!

Here they will therefore exhibit e: Luigi Bassani, Mauro Braglia, Maurizio Brambilla, Carla Brandinali, Simona Bruta Adela, Graziella Carpanetti, Elvira De Micheli, Davide Farina, Luigi Franco, Liliana Fumagalli, Magdalena Grandi, Liliana Grassi, Bruno Greco, Susanna Maccari, Gigi Mascetti, Franca Ottino, Eddi Pattenò, Gabriella Pimpinicchio, Eufemia Renzi, Mariapaola Rossetti, Elisa Russo, Rosario Scrivano, Massimiliano Tamilla and Paolo Terdich".

- Fabio Bianchi, on "Libertà": "With Brambilla and Terdich two worlds in comparison - At the Spazio Rosso Tiziano the latest production of two very active performers", 5th November 2018.

Piacenza. “In art, variety enriches. In painting then the dialectic stimulates. This is what happens in "Two Worlds in Comparison", a bi-personal exhibition of two good painters such as Maurizio Brambilla and Paolo Terdich. On display until 7 November at the Spazio Rosso Tiziano, via Taverna 41, Piacenza, it brings together the latest production of the two very active performers… Terdich from Piacenza - with personal backgrounds in prestigious contexts both in Italy and abroad with works in very important collections - he made his debut as a hyper-realist and, in these oils on canvas dedicated to water, he maintains the incipit of that glorious movement. That is, the centrality of the figure, clear and vivid colors subordinated however to a strong dynamism, apparently only chromatic, indeed also plastic. Terdich has found his own stylistic hallmark between moved figures, complex technique and compositional originality. Echoes of many movements can be glimpsed: from Pop Art immediacy to the richness of "New image painting". Thus he elaborates a new classicism that finds, in bodies immersed in chromatic fragmentations, the ultimate and innovative meaning of the message. He suggests many ideas for this pictorial ambivalence, also semantic in the different visual codes, always in the name of a very high craft. The "Two Worlds" of Brambilla and Terdich are: nature and water; green and blue; static and fluctuating; graphic firmness and multifaceted images… Terdich instead enhances the interaction between figure and non-context, between the bodies of swimmers and the changing plane of the water. Therefore, reality against figure, object and subject, being and becoming, physics and metaphysics…”.

- Alberto Moioli, on the catalog: “Two Worlds in Comparison - Spazio Rosso Tiziano di Piacenza”, 20th October – 7th November 2018.

“Paolo Terdich's painting is rooted in the most interesting pages of the history of art and enriched by an experience updated in the midst of the renewal of contemporary art. With Terdich we rediscover the pleasure of representing expressive figuration of great stylistic refinement close, in a certain sense, to the experiences that characterized the mid-20th century in the United States with Udo Kultermann's reflections and experiments in the world of hyperrealism.

In reality, the expressiveness of Paolo Terdich, in the face of constant research and creative experimentation, explodes in all its power, distancing himself from the pure aesthetic exercise, which characterized many historical experiences in this area, elevating the creative gesture to the artistic rank thanks to a formal attention and content of great depth and elegance in an eternal balance between metaphysics and surrealism. In particular, the works exhibited in Piacenza, in the elegant setting offered by the Spazio Rosso Tiziano, show his extraordinary ability in the study of the transparency of water, an expressive experience that characterizes him in the international panorama of contemporary art precisely in a historical moment, in which, the realist aesthetic returns overwhelmingly to the taste of enthusiasts and insiders.

Terdich's response to contemporary aniconic experiences belongs to the formal elegance of Italian hyper-realist painting that he will not fail to continue to excite already from the next work he will paint.

The energy that his painting releases becomes harmony in which the distribution of spaces dialogue with the chromatic research without hesitationTerdich's water belongs to a very personal reflection, a research that therefore draws first of all from within itself. However, the primordial element painted by the artist is not the water, which reflects without letting itself be penetrated, by Caravaggio in his extraordinary "Narcissus" of 1597, nor is it the disquieting water that envelops the drama of the shipwrecks by Turner between the '700 and '800, Terdich's research comes closest to an aesthetic lyric in which the evocative power of a painting of silence and poetry emerges, almost contemplative works, in search of an involvement between painting and observer, a dialogue new and particularly interesting”.


- Alberto Moioli, press review: “Two Worlds in Comparison” - “Spazio Rosso Tiziano”, 20th October 2018.

“The exhibition “Two worlds in comparison” opens in Piacenza, that of Maurizio Brambilla and that of Paolo Terdich. Both painters, members of a group of not known artists under the name of Eoykos. The two worlds confronting each other are the creative souls of leading figures in the world of Italian contemporary art in a very particular moment in our history. Figurations that sometimes refer to the classical world, other times they present us with metaphysical scenographies in which figures and natural elements are arranged as on the chessboard of a hypothetical theater of life.

If Maurizio Brambilla captivates us with his labyrinths and silent scenarios, Paolo Terdich enchants us with an extreme realism in which it is pleasant to get involved until we feel part of that world, sometimes surreal, which intimately belongs to the artist's expressive language.

United by formal elegance and a particularly interesting compositional rigor, the works exhibited in the authoritative exhibition setting offered by the SPAZIO ROSSO TIZIANO in Piacenza offer the opportunity to investigate unreal and enigmatic atmospheres typical of painting which refers to the magical realism evoked by the works of Brambilla and generating a pleasant sense of disorientation. Terdich's hyper-realistic figurations undoubtedly excite, showing extraordinary technical ability and an expressive language applied to the figurative representation of water as it had not yet been seen. Unusual points of view, transparencies and realities that find interpretative space within a broad and refined culture, typical of those who do not like to be satisfied.

The exhibition therefore presents two different creative languages where the classical images of Brambilla's magical realism imbued with metaphysics and Terdich's hyper-realist painting dialogue which refers to the US experiences of the mid-twentieth century when Udo Kultermann was the first to start talking about hiperrealisme by grouping other nascent currents. In reality, the expressiveness of Paolo Terdich, in the face of constant research and creative experimentation, explodes in all its power, distancing himself from the pure aesthetic exercise, which characterized many historical experiences in this area, elevating the creative gesture to the artistic rank thanks to a formal attention and content of great depth and elegance in an eternal balance between metaphysics and surrealism".

“Born in Piacenza, the artist, with a clear international vocation, has exhibited in numerous personal exhibitions and international events, receiving prestigious awards. We remember his personal exhibitions at BiffiArte (2017) and Spazio Rosso Tiziano in Piacenza (2015 and 2009), at the Italian Embassy in Nigeria (Abuja - 2010) and at the Italian Cultural Institute in Egypt (Cairo - 2000) . Some of his works are permanently exhibited in various Italian and foreign galleries and institutions. His works have been published in various magazines and art books, including "Watercolor - Paintings by Contemporary Artists", published by Chronicle Books of San Francisco, in which Terdich is the only Italian among the 21 masters of the selected watercolor. The Conductor Maestro Riccardo Muti owns a portrait of him made by the artist. Two canvases, donated by the artist, are exhibited at the Mater Ecclesiae Monastery (Lagos Nigeria), inspired by Blessed Pope John Paul II. Figurative painter, in his works he demonstrates a particular ability to juggle various pictorial techniques and seeks a cognitive deepening, of penetration beyond the appearance of things. His paintings on his works embrace different subjects, ranging, with the confidence of a mature artist, from portraits to figures, to nature, to still lifes. Terdich has the gift of dealing with virtuosity issues of considerable executive difficulty; therefore to compete with himself in a constant dialogue with the dynamism of the form, thanks to a palette full of vibrations. The "Water" paintings convey to the observer a high value of expressive rigor, for which they can rightfully be defined as jewels of wise talent. It is decidedly realist research, thanks to a construct that concedes nothing to rhetoric. Tackling difficult themes such as the "water" series, a symbol of primordial birth, he goes in search of light, reflections, refractions, towards a dimension of knowledge of the truth or the unfathomable. It is an important point of arrival in his poetics: once fidelity to the model has disappeared, everything becomes more fluid and imaginative. These are new, unpublished subjects and, due to their compositional dynamism and chromatic vivacity, they communicate infinite sensations of movement and freedom. His transparencies explore the possibilities of perception of reality and the field of the visible thus becomes the space of vision and colour. Water, symbol of life, purification and vigor is transformed into a territory of light and reflections. In these works he enunciates the inspiration of his expressiveness on which he leverages to obtain the most ambitious of aesthetic objectives: through the visible, he realizes experience the invisible. Terdich combines his technical mastery of figurative-surrealist setting with the curiosity of the subject. His work is articulated and transformed into a representative space that weaves stories and tales aimed at exploring the artist's own visionary reality. His work could be defined as a work of investigation, rendered through a silent and intimate realism, which transmits sensations of expectation and mystery, from which an inner torment shines through. Through his subjects he communicates his restlessness, which emerges from the characters he depicts with an energy in which lights and shadows seem to vibrate together. A sense of intense solitude dominates and his characters, illuminated by a soft light, are portrayed in everyday environments without spectacularity, in which they assume an air of poetic suspension and intimacy. Original, in the interpretation of light and in the choice of subjects, his still lifes, extremely realistic, which are transformed into metaphysical presences, emblems of a state of mind, thanks to the pure, sculptural light. Terdich is one of the founders of the group, of metaphysical-surrealist matrix, "Eoykos", born in 2011 and composed of six artists, who through the expressive potential of their figuration, intend to demonstrate that art is still a privileged communication tool, which transmits universally readable sensations and emotions. The artists of the Group, refined and wise, virtuous craftsmen of the palette and plastic art, move in a terrain poised between Surrealism and Metaphysics".


2017:

- Anna Anselmi, on "Libertà": "Terdich, the transparency that confuses shapes and contours", 12th June 2017.

“Transaparency”: the theme of light in the personal exhibition of the artist from Piacenza at Biffi Arte.

Piacenza. "The transparency of glass and water is the protagonist of Paolo Terdich's works, exhibited in the solo show "Transparency" which can be visited until 18 June at the Biffi Arte Gallery in via Chiapponi. Bodies caught swimming by cleaving surfaces which, in their movement, cause the continuous (con)fusion of shapes and contours, facing the theme of light from a particular perspective, in a work based on the vivacity of colors and a hyper-realistic rendering the details, whether it's the hands or the hair that emerges from the surface of the water, or the bathing suit worn by those that the curator Susanna Gualazzini evokes as “modern Nereids extraneous to our heaviness world. Terdich's world is also - continues the critic - a world of solitary creatures, of bodies that seem to be generated by water, and to belong to water, in an exchange of liquid refractions". The technique used is almost exclusively oil painting, with the exception of some acrylic and watercolour, the latter however practiced on other occasions with special attention, so much so that Terdich was selected, the only Italian, among the twenty-one masters of the volume “Watercolour - Paintings by contemporary artists”, published in San Francisco by Chronicle books. After all, the pigments bound by gum arabic have as their essential characteristic precisely the airy and transparent lightness that seems to so fascinate the artist from Piacenza, of Istrian ancestry. Terdich has held personal exhibitions in Italy and abroad, including in Nigeria, at the Italian embassy in Abuja, and in Egypt, at the Italian Cultural Institute in Cairo. In 2011 he was one of the founders of the Eoykos group, of a "metaphysical-surrealist" matrix, atmospheres that are found in still lifes, where the discourse of light is declined by exploring the expressive values of different materials, from the reflecting splendor of 'silver to the arcane light of alabaster, up to the brilliance of glass”.


- Susanna Gualazzini, press release: “Transparency, Paolo Terdich's painting” - “BiffiArte”, 13th May 2017.

“On display at the Biffi Arte Gallery is a broad survey of what can be considered one of the themes dearest to the painter Paolo Terdich: water, in its forms, in its unpredictable motility. A fickle element par excellence, in the works of the painter of Istrian descent, water becomes a container of light, a territory of vision, a mysterious narration of inner knots. It is a painting that is perceived to be of slow gestation, the slowness necessarily required by the almost exclusive use of oil; but it is also the intrinsic slowness of a technical mastery which over the years has been increasingly refined to give voice to a deep feeling. In dialogue with the human body in the immensity of the sea, or in motionless and poetic suspension in the transparency of glass, in Terdich's works water acquires a transcendent force, which makes it an interior place.

A painter widely exposed to artistic experiences from other countries, Terdich expresses a research that can certainly fit into the North American realism of the second nine hundred, with respect to which, however, it abandons that connotation of disturbing asepticity to become amazement, hypnotic suspension. Because those of Terdich are inhabited transparencies: from our loss.

Terdich has the gift of dealing with virtuosity issues of considerable executive difficulty; therefore to compete with himself in a constant dialogue with the dynamism of the form, thanks to a palette full of vibrations. The "Water" paintings convey to the observer a high value of expressive rigor, for which they can rightfully be defined as jewels of wise talent. It is decidedly realist research, thanks to a construct that concedes nothing to rhetoric. (Paolo Levi)”.


- Susanna Gualazzini, on the Catalogue: “Transparency” at “Galleria BiffiArte”, May-June 2017.

“Trans-opinion, trans-disappear”.

“Thus, with a devout gesture, drinking water in the hollow of the hands or directly from the source, allows the most secret salt of the earth and the rain of the sky to penetrate us. Marguerite Yourcenar”

“They are not looking for air, and creatures by Paolo Terdich: modern Nereids extraneous to our world of heaviness, they float in united waters, as in an amniotic suspension that gives them all the life they need. And it is a world of solitary creatures, of bodies that seem to be generated by water, and to belong to water, in an exchange of liquid refractions.

The waters of Terdich, a painter widely exposed to artistic experiences from other countries, summon many of the symbols linked to this precious element, whose archetypal contents belong, thanks to the prenatal experience, to the deepest structure of our psyche. Here then is that in the depths of the sea, in dialogue with the human body or in poetic suspension in the transparency of the glass, water is one of the themes dearest to the painter of Istrian descent, and the subject of a survey that truly makes it a territory of vision . Or of poetic amazement when, in the still lifes, the research on liquidity becomes decanted transparency: not a stirring of waves but the placid state of numinous waters that seem to be part of a mysterious, yet daily, alchemical process.

Strictly in oil, with sporadic incursions of acrylic and watercolor, Terdich's artistic research presupposes a meditated, highly controlled pictorial process, with a technical mastery that over the years has been increasingly refined to give voice to a deep feeling. With a happy hand, the artist expresses a painting that can certainly be said to be the daughter of North American realism of the second half of the twentieth century, but which nevertheless goes beyond the accuracy of Photo Realism or Sharp Focus Realism. Containers of light and place of mysterious narration, Terdich's waters acquire a transcendent force that takes the painter beyond the emotional void that can sometimes connote hyper-realistic research: the landing place is an inner place, in an experience of hypnotic totality free from ambiguity. Because those of Terdich are inhabited waters: from our loss".

2016:

- Angelo Mistrangelo, on "La Stampa": "Turin, Spazio Arte Castello: The faces of water", 18th March 2016.

“In conjunction with World Water Day, Spazio Arte Castello hosts the exhibition “The Faces of Water – life, femininity, energy”, which opens on Wednesday 23 March from 6 pm and will be visible until 9 April. The canvases of… Paolo Terdich… will be exhibited. Alongside the exciting works of the artists, inspired by such a profound and primary theme, where life, femininity, energy are intrinsic, the art review includes a section of large panels that invite the visitor to dwell on the meaning and respect of our main natural resource…”.

2015:

- Betti Paraboschi, on "Libertà": "Images, installations and drapery - Alberti, Budano and Terdich exhibit up to 26 at the Spazio Rosso Tiziano", 18th June 2015.

  “Piacenza - The Spazio Rosso Tiziano is well worth a visit. The people of Piacenza know it. This time, however, the invitation not to miss a trip to the gallery is even more urgent. In fact, until June 26, the Space hosts three very interesting personal exhibitions by as many artists from Piacenza who are worth knowing but above all recognizing: Giovanni Alberti, Lino Budano and Paolo Terdich ... The same can be said of the numerous works by Paolo Terdich, which follow a double common thread : on the one hand, the visitor finds representations of the most common everyday life, a domestic spirit that manifests itself in the still lifes built on the coffee pots, on the reflections of the glass bottles filled with water or brandy, on the pumpkins and shells softly placed on drapery of shade fabrics; on the other hand he finds himself face to face with the cinematographic stills, the faces of Hollywood stars suddenly stopped by the artist's brush, the bodies immersed in water that really seems to change on the canvas, thanks to the extraordinary dinary ability of the artist to grasp and above all portray its vibrations and reflections. Terdich's is undoubtedly a painstaking work which nevertheless bears fruit in a painting that looks like a photograph in its realism without canceling the classical artistic element...".


- Betti Paraboschi, on “Libertà”: “Three exhibitions at the Spazio Rosso Tiziano: from the works of Alberti to Budano and Terdich”, 30th May 2015.

  “No longer two, but even three. The Spazio Rosso Tiziano will host many personal exhibitions starting today at 5.30 pm. The works of Giovanni Alberti, Lino Budano and Paolo Terdich will end up in the spotlight for the occasion: … The third will propose paintings based on plays of light and contrasts. For people from Piacenza it is an opportunity not to be missed… In the case of lights and contrasts, Terdich proposes three distinct strands in this exhibition: still lifes, portraits and figures immersed in water, in an intimate and surreal atmosphere that evokes dreamlike depths, enunciating the inspiration of his expressiveness nourished by a figurative passion, on which he leverages to obtain the most ambitious of aesthetic objectives: "Through the visible, realize the experience of the invisible"…".


- Patrizia Mazzei, press review: “Lights and contrasts” - “Spazio Rosso Tiziano”, 30th May 2015.

"Lights and contrasts", a theme that Paolo Terdich proposes in this exhibition in three distinct strands: still lifes, portraits and figures immersed in water, in an intimate and surreal atmosphere that evokes dreamlike depths, enunciating the inspiration of his nourished expressiveness from a figurative passion, on which he leverages to obtain the most ambitious of aesthetic objectives: through the visible, to create the experience of the invisible. Terdich's works can be approached, at a first glance, to the current of Hyperrealism, of the school Anglo-American of the second half of the twentieth century, thanks to a construct that concedes nothing to rhetoric. However, on closer inspection, his painting also implies something else. The reality that he reproduces appears perfect in mimesis, but behind the appearance there are hidden restlessness and questions, hidden in the details, like subtle warnings. Original, in the interpretation of light and in the choice of subjects, his still lifes, realistic, which are transformed into metaphysical presences, emblems of a state of mind, thanks to the pure, sculptural light. He describes the connotations of reality, by means of an executive wisdom without limits, which induce the observer to immerse himself emotionally in his works, with no way back. The combinations of shapes, colors and objects become pure extrapolations from everyday life to which he returns with power and safety. The rigorous training, the unmistakable handwriting of the sign, which combines the severity of the brush, in ratios and volumes, and the whimsical creativity in the meticulous, photo-luministic details of each cut of light on the surface, expressing itself, with elegance, in a dimension dreamlike-mythical, in the representation of objects. The real dimension between dream, myth and metaphor of irreproachable vocation. A reality that is inspired by the archetypal recordings of his experience, which appears perfect in the mimesis that acts as a counterpart: the shadow of the archetypal ghost, which is behind the object, breathing and expressing a Morandian atmosphere. It is precisely the attention to the figure that distinguishes him. The drawing is articulated and transformed into a representative space that weaves stories and tales aimed at exploring a visionary reality of the artist's own. In his works he seeks a cognitive deepening, a penetration beyond the appearance of things and virtuosity deals with issues of considerable executive difficulty; therefore to compete with himself in a constant dialogue with the dynamism of the form, thanks to a palette full of vibrations. Terdich he brings his technical mastery of figurative-surrealist approach to the curiosity of the subject. His work is articulated and transformed into a representative space that weaves stories and tales aimed at exploring the artist's own visionary reality. His work could be defined as a work of investigation, rendered through a silent and intimate realism, which transmits sensations of expectation and mystery, from which an inner torment shines through. Through his subjects he communicates his restlessness, which emerges from the characters he depicts with an energy in which lights and shadows seem to vibrate together. Through the representation of water, he transmits to the observer a high expressive rigor, for which they can rightfully be defined as jewels of wise talent. Tackling difficult themes such as the "water" series, a symbol of primordial birth, he goes in search of light, reflections, refractions, towards a dimension of knowledge of the truth or the unfathomable. It is an important point of arrival in his poetics: fidelity to the model has disappeared, everything is forbidden nor more fluid and imaginative. These are new, unpublished subjects and, due to their compositional dynamism and chromatic vivacity, they communicate infinite sensations of movement and freedom. His transparencies explore the possibilities of perception of reality and the field of the visible thus becomes the space of vision and colour. Water, symbol of life, purification and vigor is transformed into a territory of light and reflections. In these works he enunciates the inspiration of his expressiveness on which he leverages to obtain the most ambitious of aesthetic objectives: through the visible, to realize the experience of the invisible. Thus, a figure of a swimmer suddenly appears fragmented, and not only due to the refraction of the water. Thus, a girl's smile does not match the barely veiled gaze, as if she was keeping a secret ”.


- Liviano Papa, press review: “The new figurative surrealism” – “Spazio Moderno”, 23rd May 2015.

“… A group of artists from different parts of Italy, with a profound and personal cultural background, come together to shout that they are not in this rampant chaos that is felt in art: they rebel like the ancient revolutionaries against a prevailing fashion , shouting their dissent, they sign the manifesto announcing that they want to return to order… In this exhibition, grouped together under the title The depicted realism, they express a full, supportive desire to communicate with the tools that are most congenial to them: the palette and the colors, and the brushes , while for the sculptor the extraordinary ability to accommodate the material to its expressiveness…. Praising a painting depicted and represented in all its beauty, from European Surrealism, to the thought of Salvador D'alì, to dream images, in which signs, brushstrokes, figures, visions flow into that magical and childish world of visionary freedom to express themselves in which body and soul, intellectual strength and interiority, expressiveness and intimacy explode in an apotheosis of beauty, aesthetic and strongly intimate, aware that only the knowledge of knowledge satisfies man and the artist to tell with the tools the universal joy of passion is congenial to him….The Group strongly believes that painting, art, is communication, it is the desire to announce to the world the thought of knowledge and respect that one has towards nature as a whole and the joy of communicate the beauty, the wonder that lurks in this show that has always been regenerating. With these foundations the union of the Group was born in 2011 in Piacenza… Paolo Terdich was born in the ambit of American Hyperrealism, and it is the first impression, immediate and without second thoughts, that emerges in the memory: fully realistic painting, so much so that one can touch it with one's hands, in a second analysis, the awareness emerges that is full of contents, of messages, of telling not so much a landscape, a silent nature, but the strong attraction that this produces…”.


2014:

- "Catalogue of Italian Modern Art" n° 50 - Editorial G. Mondadori of Milan (Selected Artist).

- Fabio Bianchi, press review: “Identity and metamorphosis” – “Galleria La Spadarina”, 7th Dec. 2014.

“Getting involved today in the variegated and sulphurous world of art implies risks and gambles these days… but despite everything, 5 painters and 1 sculptor are the protagonists of a great artistic and cultural adventure. The sculptor Mauro Braglia, the painters Maurizio Brambilla (Milan), Paolo Golino (Syracuse), Luigi Petrin (Rosario Scrivano and Paolo Terdich (both from Piacenza) have in fact formed a "super-group") that is "Eoykos - the group of 6". Animated by extraordinary coherence, supported by enviable fortitude, they have only one, unequivocal certainty: the conviction of their own means, that is, of possessing a solid method: And they also drew up a "manifesto" in August 2011, it is a very clear and very lucid “rappel a l'ordre”. A successful attempt so far not to let oneself be influenced by the system, but to emancipate oneself according to an ethical ideal fully expressed in the "new surrealism depicted"…. Paolo Terdich's painting moves from Hyperrealism, but the theoretical and social assumptions of the glorious movement change. The Americans posited suspensions of judgment, a criticism of the system in which, moreover, they did not participate. Terdich instead proposes only painting, technical and aesthetic perfection combined with a rare visual and compositional balance. The message? Painting is a science, synthesis and "coincidentia oppositorum", reality and feeling, dream and vision.".


- Elisa Manzoni, press review: “To dream” – “Velasquez Gallery”, 15th March 2014.

“Reality and dream: two communicating worlds in continuous metamorphosis After so much wandering through Italy, the Group of 6 finally arrives in Milan and shows off at its best with works of exceptional philosophical value. Officially born in Piacenza on August 9, 2011, the group places itself in an artistic reality of difficult understanding in which the vast majority of people consider art and culture more and more in decay. Like heroes of yesteryear, the members of the group have been able to bring Italian art back to its former glory: after the Great War, it has never been as alive as today with its multiple facets that have the ability to dig into the intimacy of 'observer.

As stated in their Manifesto, the six artists pursue the mission of seeking new ways of interpreting the world in order to get out of the rigid conventional schemes imposed by society, thus emancipating the human spirit and body from an increasingly oppressive contemporary reality.

But what is their common thread? What is their reality? Being creative, their sensitivity is acute and perceives changes much earlier than ordinary people: thanks to their emotions and passions, free from any social obligation, they are able to go beyond what the five senses capture and thus fly into the subconscious by visualizing a dreamlike, enigmatic, metaphysical and surreal space, a unique space, dreamlike and not yet explored.

Who are these six heroes who disintegrate from today's reality to show the new surrealism depicted and thus enhance their sixth sense?

…the hyper-realist Paolo Terdich. The painter will win you over with his meticulously conceived details through the virtuosic drafting of color and the precise study of the refraction of light. Although the mimesis is perfect, and almost disconcerting, the observer is led to wonder what is beyond all the serenity that is initially perceived. A silent, surreal, dreamlike and mystical dimension is transfigured by the subjects represented who seem to ask existential questions: "Who are you? What are you hiding? What are you looking for?". The artist delves into what he is known for, going beyond appearances and thus discovering profound meanings that are difficult to fathom, as can be appreciated in the canvases in which water becomes a symbol of rebirth and primordial inner torment. An art that seeks the experience of the invisible through the visible”.


2013:

- Claudia Baldi, press release: “Ars Nostra – Drawings & Watercolors” - “Galleria l'Agostiniana, 24th September 2013.

“Born in Piacenza, the artist, with a clear international vocation, has exhibited in numerous personal exhibitions and international events, receiving prestigious awards. Some of his works are permanently exhibited in various Italian and foreign galleries and institutions. His works have been published in various magazines and art books, including "Watercolor - Paintings by Contemporary Artists", published by Chronicle Books of San Francisco, in which Terdich is the only Italian among the 21 masters of the selected watercolor. The Conductor Maestro Riccardo Muti owns a portrait of him made by the artist. Figurative painter, in his works he seeks a cognitive deepening, a penetration beyond the appearance of things and demonstrates a particular ability to juggle with various pictorial techniques. His works embrace different subjects, ranging, with the confidence of a mature artist, from portraits to figures, to nature, to still lifes. ”.

- Marco Pennone, on magazine “Villa Cambiaso”: “Identity and Metamorphosis - The Group of Six - Eoykos Movement at Villa Cambiaso”, June 2013.

“The exhibition that was inaugurated on Saturday 18 May 2013 at Villa Cambiaso is one of those events that will surely remain in the minds and hearts of the participants for a long time. And this for various reasons, first of all the value of the Artists and of the critic-poet writer who presented them: Alfredo Pasolino.

I would say, as a first impression, that this exhibition had a consolatory value: in these times of aesthetic ugliness at all levels, dominated by a "kitsch" that has crept into every sector, it is comforting to see how "beauty" still exists And

constitutes what Paolo Levi defines as the "unstoppable vitality of Art". Because this exhibition is essentially "beautiful", in the sense of perfect adaptation of the content to the form and vice versa, in the sense of adherence to a program which is expressed in a "manifesto" of high moral value and substantial theoretical substance. A manifesto in which we find words and expressions that seemed lost, such as "dream", "real", "true", "beautiful", "Universe", "God"...

Now let's see who the Artists are…

“…Paolo Terdich's painting, while recalling Hyperrealism, resolves itself into a magical game of mirrors, in which every detail refers to a mysterious reality that lies beyond…”.


- Alfredo Pasolino, on magazine “Villa Cambiaso”: “Eoykos – The Group you are Six at Villa Cambiaso”, June 2013.

“The exhibition explores these interpreters of art without borders, both in the sign of tradition and in the experimentation of interactive combinations, capable of uniting or interacting with their marked sensitivity, painting with the intrinsic perception of the poetry of the sign, of the color and of the imaginary, catalysts of the ecstasy of emotion. In the sounding of contrasting the chromatic systems with the different “ways of appearing of colour”. With the ability of creative thinking, oriented in the psychology of extreme perceptions, masters of puzzles, pursuing revelations to the Infinite. As in happiness, one does not have reality, but one is there. For creative thinking, reality is not an object to be grasped, but an atmosphere, a horizon in which one is inserted. This is as true for any artist who seeks out ideas as it is for philosophy: reality is an infinite sea, in which one immerses oneself, one navigates. The chariot of the soul travels on this surface, to know and conquer it. Between differences in levels, visualization energy and structural variables, in space and time, without limits. Therefore, going through the exposition, noting the various phases of cultural development, from subject to subject, in the differentiations of the mental-ego, what Michel Faucault said comes to mind: we are invited to consider the reality (of truth) as mutable, relative . “The artist is a pilgrim within his absolute”. Every ability of him in action is made at the level of the subconscious, and the thinker, like every word of knowledge, gets in the way of action. ”

"EOYKOS" The "Group of Six" at Villa Cambiaso 6 Exhibitions Year XIII n°69 - June 2013

This is entrusted to the perceptive process, not to the memory process, with its thoughts, with its pitfalls, because they are far from reality. The fundamental purpose of creative thinking is to perceive (visualizing as in yoga practices), the intrinsic nature of a problem, examined in its right and in its style. The main purpose of the artist to tear out its intrinsic nature (meaning of creativity and uniqueness...). Which, in the jargon of thinking about painting, is meant to indicate the method with which the artist creates something new, unprecedented, revolutionary. The opposite of what you already know. The artist is in the vanguard of learning, of being an explorer of the unknown, this gives him freedom. Therefore the artist is the actor of explanatory metamorphic experiences, in the region, beyond any own verbal definition, of visualizations, in their different levels. And to emotional evaluations, of the intrinsic nature of things and of the human, with all the load of symbolic language. As evidence of their way of dealing with modernity, chromatic harmony, after having gone through the crucial moments at the dawn of the new century, from the trans-avant-garde to surreal metaphysics.".


- Michele Costantini, on "La Stampa": ""Identity and metamorphosis. On display at Villa Cambiaso", 28th May 2013.

“In Savona, evocative works by Mauro Bragtia, Maurizio Brambilla, Paolo Golino, Luigi Pretin, Rosario Scrivano and Paolo Terdich are exhibited until Sunday 2 June.

Identity and metamorphosis is the title of the painting and sculpture exhibition, which these days can be admired in the historic Villa Cambiaso in via Torino, 10 in Savona. The artists exhibiting are, in alphabetical order: Mauro Braglia, Maurizio Brambilla, Paolo Golino, Luigi Pretin, Rosario Scrivano and Paolo Terdich, the components of the manifesto «Il Gruppo dei 6». Officially born on August 9, 2011 in Piacenza, the manifesto aims to create simple and immediate thoughts in the mind and spirit, such as: «What is there beyond simplicity? The art. And beyond the Art? The hidden truth or truths». And again: "Fight without being a warrior" and applying this maxim to painting: "Paint without being a painter", because if you don't believe in God, you believe in Nature. If you don't believe in nature, believe in the universe, and if you don't believe in the universe, at least believe in yourself. Perhaps one day you will discover God. The main architects of the manifesto of the group of 6 believe they should use any means, including the large network, to spread and disseminate their ideas in order to always involve new sympathizers in the enterprise, beyond the their level of educational readiness and social and economic background. The art exhibition in the premises of Villa Cambiaso, presented by Alfredo Pasolino last Saturday 18th will end on June 2nd. The turnout of the public who have visited the exhibition to date is remarkable, attracted by the skill and notoriety of the artists. Braglia, Brambilla, Golino, Pretin, Scrivano and Terdich, are not founders of the manifesto of the group of 6 by chance, their artistic commitment, in fact, is aimed at everyone, without distinction of social, economic and scholastic origin.".


- Fabio Bianchi, on “Libertà”: “Terdich in an American book”, 23rd March 2013.

  “The painter from Piacenza Paolo Terdich has shown himself to be increasingly versatile in recent years, to the point that watercolors by him are included in an important American volume, “Watercolor” (Edizioni Chronicle Books, San Francisco).


-       Fabio Bianchi on “Libertà”: “Works by Terdich in a monastery in Lagos and from today the painter in a group show in Genoa”, 18th January 2013.

  “Increasingly successful in Italy but also abroad, the painter from Piacenza Paolo Terdich is characterized by a boldly figurative style, at times hyper-realistic and always with strong colours. He recently donated two canvases to a monastery in Lagos (Nigeria): both medium-large in size, portraying angels with female features. An angel, in an almost blessing attitude, is firmly anchored to the earth, indeed flies over an expanse of water as if to symbolize a function of control over the environment. In the background of the other canvas, the universe can be glimpsed from afar because the angel, in a progressive detachment from earthly contingency, can become a link with God. Both are rendered in the classic Catholic iconography derived from patristic and scholastic angelology with showy wings and on the body a blue cloth. Angels assist and protect the Church and, despite being spiritual and incorporeal creatures, they are endowed with intelligence and above all with their own will. Terdich does not forget the Christological dimension in the sense that they announce the coming of Christ, serve him and are trusted messengers always supporting a general plan of salvation.

The recipient of the donations is the monastery "Mater Ecclesiae" is a monastic congregation of diocesan right established in Lagos in 2004 and pursues an exclusively contemplative life.

Finally, we remind you that from today to 30 January Terdich will be among the protagonists of the collective painting Rifrazioni, hosted by the “Immagini e Colore” gallery, Vico del Fieno 21R, 16123 Genoa”.


- Loredana Trestin, press review: “Refractions – “Image&Colour” Gallery, 18th January 2013

“Paolo Terdich makes the concepts of his art palpable in a well-defined space and time. Painting of great technical commitment, he renews himself by declining towards the expressiveness linked to existence itself where objective visions and emotions coexist in dynamic balances ".


2012:

- Paolo Levi, review on "Monographic Archive": "Paolo Terdich - Certificate of primary quality", November 2012.

“Paolo Terdich has the gift of dealing with virtuosity issues of considerable executive difficulty; therefore to compete with himself in a constant dialogue with the dynamism of the form, thanks to a palette full of vibrations. The Acqua painting from 2007 transmits to the observer a high value of expressive rigor, for which it can rightfully be defined as a jewel of skilful talent. It is definitely research in the realist sphere, of the Anglo-American school of the second half of the twentieth century, thanks to a construct that concedes nothing to rhetoric".

- Paolo Levi, review on the "Eoykos" Artistic Movement: "The unstoppable vitality of art", September 2012.

“Paolo Terdich's works can be compared, at first glance, to the American current of Hyperrealism. And it is the absolute precision in the details of the figures, in the landscapes, in the interiors that unites Terdich with that language. However, on closer inspection, his painting also implies something else. The reality that he reproduces appears perfect in mimesis, but behind the appearance of a smooth and serene face, restlessness and questions are hidden, hidden in the details, like subtle warnings. Thus, a figure of a swimmer suddenly appears fragmented, and not only due to the refraction of the water. Thus, a girl's smile does not correspond to a slightly veiled gaze, as if she were hiding a secret, perhaps precisely the one contained in the container she holds in her hand. Is it her Pandora's box, with all the evils in the world, or the secret essence of her femininity?


- Review by Leslie Dutcher and Sujean Rim, from the book “Water Color – Paintings by contemporary Artists”, published by Chronicle Books of San Francisco (USA), November 2012.


- Giovanna Grossato, press review: “Itinera 2012-2013 – exhibition of contemporary artists in ten Italian cities of art”, 5th October 2012.

  “An artist, Paolo Terdich, who has often confronted himself in his career with artistic experiences from other countries from which he has been able to draw interesting ideas for his works that range in themes in various fields. The structure of his works (especially oils and acrylics on canvas or watercolors on paper) makes use of very effective executive techniques in rendering the dazzling likelihood of figures and objects in very particular contexts and luminous situations. The representation of the feminine, especially in its relationship with water, is one of the particularly suggestive themes in the artist's paintings. And, in any case, the human presence is always perceptible, even in the depictions of landscapes and objects: although solitary, in fact, these seem to be looked at through the eyes of someone (a woman?), suffering from their abandonment or obtaining their return, with such a precise pictorial rendering by transmitting the tactile qualities of matter.

Born in Piacenza, he lived several years abroad (England, Egypt, Holland, Nigeria), where he was able to deal with different cultures and refine his artistic sensibility. In his works he seeks a cognitive deepening, a penetration beyond the appearance of things and demonstrates a particular ability to juggle with various pictorial techniques. He regularly exhibits in solo and group exhibitions in Italy and abroad, as well as in national and international exhibitions. His works are also presented in the most significant contemporary art fairs. His bibliography is vast, with reviews in specialized magazines and catalogues. Works by him are present in public and private collections ”.

“Paolo Terdich in his still lives tells stories by depicting common objects of daily use, and through the lights and the contrasts generate particular atmospheres and feelings. Such stories and feelings via the unanimated elements painted in the still lives, are made alive, through the movement of liquids and the reflections of lights within the glasses, bottles and metallic surfaces. His still lives are unusual, rather personal in the interpretation of the light, the choice of the subjects, the harmony of volumes and the consistency of the glares. The whole composition is tidy, symmetrical; to the moment of the event, the contemplation takes over. In these works the largeness of the small things is emphasized. Terdich does not copy the reality, he transforms the objects into metaphysical presences; they are emblem of a state of mind, thanks to the light, purest, and sculptured. The serenity and simplicity in his work has been compared by some art critics to the silent metaphysic of the great Italian artist Giorgio Morandi ”.

- Domenico Taricco, press review: “Italian Post-Avant-Garde: Ultraveristi” - “Il Salotto dell'Arte Gallery”, 15th March 2012.

“Paolo Terdich, for example, describes the connotations of reality, by means of an executive skill without limits, which induce the observer to immerse himself emotionally in his works, with no way back. The combinations of shapes, colors and objects become pure extrapolations from everyday life to which he returns with power and safety. The color reaches the light and the shape is superimposed on the real, animating the fiction in pure realism".

- Daniela Pronestì, press release: “Pelle” - “Simultaneous Gallery – Art Spaces”, 25th February 2012.

“At the center of Paolo Terdich's artistic research we recognize the seduction of the body implemented through the skin, a sensory and at the same time psychic tissue, which now describes the biological and biographical destiny of the single subject (Alba), now the unifying force of a fold or of a detail (Mani) which, enlarged and reduced in the form of a fragment, loses its constitutive identity to become the mirror of a multitude. In his drawings, the skin is therefore understood both as writing of history and individual destiny, and as a borderland between us and the world, as a "space" that makes the experience of otherness possible. Pieces of skin that reveal the presence of the other and instill in the observer a desire for union, for the interpenetration of bodies". "Skin. Involucre of reality, surface of things, artifice of painting that deceives the eye and challenges photography in a race aimed at capturing even the smallest detail. More real than reality, truer than reality, the image thus painted surprises and impresses not so much for its content as for its extraordinary technical skill and descriptive ability which recall the sharpness of photography. From the photographic realism of the American Precisionists in the 1920s to the American Hyperrealism which, between the end of the 1960s and the beginning of the 1970s, revolutionized the relationship between painting and photography - Gerard Richter's phrase "painting is an auxiliary tool for a photograph made with the means of painting" - this way of representing reality not to simply describe it but to overcome it, exerts an irresistible charm on the viewer, generating in him that sense of disorientation that arises in front of what we struggle not to believe real as the result of a "diabolical" illusionistic effect. Painting poised between truth and fiction, probable to the point of producing the effect of a hallucination; painting that is a body to be "touched", but above all skin in whose folds the deception of a vision is hidden which, pushed beyond the ultimate limit of reality, becomes super-visual and surreal. There is no limit to the pictorial artifice as there is no limit to the patience of the artist who spends time and effort to reproduce, in an almost maniacal way, what the photographic shot captures in an instant. But this is precisely the magic of a painting that invites us to a perceptive "consumption" of the work even before being psychological, and which reminds us that the artist is not a simple "mechanical image recorder" but is an individual capable of grasping the significant structures of visible reality. These are the concepts that inspire Pelle, an exhibition that confirms the incredible and unshakable persuasive force of painting "only" against and despite the pressure of communication models which, in the era of virtuality, redesign the perception of time, space and of the very way of making art”.

- Patrick Caputo, press review: “Radical Realism” – “Unique Gallery”, 13th January 2012.

“Paolo Terdich has chosen an orientation of his language in which we find some characteristic elements of still life. His works are therefore the result of a work that does not focus exclusively on the subject, but also on the context. The linear system always manages to give the whole a remarkable structural freedom, which thus allows the painter to operate in areas that acquire their own identity thanks to the synergies established between the space and the subjects".


-Fabio Bianchi on “Libertà”: “Collection of successes for the painter Terdich: after Rome, he will exhibit in Turin from January 13th”, 8th January 2012.

“In just a few years, the painter from Piacenza Paolo Terdich has been able to create an enviable curriculum thanks to a remarkable technique and a refined style, hyper-realistic in setting, but rich in humanity in content.

Appreciated by critics and gallery owners, including international ones, Terdich has in recent months participated in interesting initiatives also and above all abroad and in the immediate future is evaluating attractive proposals.

Selected in October for the Rome Triennale after having participated in the group show at the Rosso Tiziano gallery in Piacenza, he was a finalist both in the "Showdown" graphics competition held in London and organized by The Saatchi Gallery and in the "Artaviva" competition and in December he was invited at an important group show held at Casa Batlò in Barcelona.

These days he is engaged in the ambitious collective Sacralità e Spiritualità which was set up in Rome in the prestigious La Pigna gallery located in the historic Palazzo del Vicariato, formerly Palazzo Maffei Marescotti, near the Pantheon. From 13 January to 10 February, the artist from Piacenza will be among the protagonists of the collective Realismo Radicale, which will be held in one of the most important exhibition venues in Turin, the Unique gallery.

And the latter, in the context of the aforementioned exhibition, intends among other things to found and promote the "Team of Contemporary Artists" (T.A.C.) to include at least one hyper-realist.

In this regard, the artist believes that the time is ripe to resume and enhance Hyperralism, an American current that had unexpected prominence between the late 1960s and early 1970s.

Let us not forget that Terdich was included by Chronicle Books, an American publisher of San Francisco in a paper-cutting art (art book) dedicated to the major contemporary watercolorists.

2011:

- Caterina Randazzo, on the 2011 Catalog "Great Masters": "Paolo Terdich - The objective reality of a lineament" - published by "Centro Diffusione arte (Editions and Artistic Reviews)".

Paolo Terdich's cognitive investigation filters the appearance of reality, passing from analytical realism to a noir comic figuration. Through an evident predisposition to portraiture - created with precision and chiaroscuro ability - the artist interprets modern society in its most intimate attitudes of reflection and restlessness. Loneliness dominates and envelops the characters, who portrayed in everyday environments devoid of spectacularity and framed in soft and suffused lights, assume a sense of ethereal suspension. A silent and intimate realism therefore, in which the images leave no doubts about the humanity of the figures. Paolo Terdich reveals all the secrets of reality, showing that he knows how to lyrically oppose the photographic medium. He places himself not as a copyist, but as a refined interpreter of life, of the effects of light on bodies, of movement, of the play of shadows and lights in the folds of a garment or in the wrinkles of a face.

Paolo Terdich was born in Piacenza, he lived several years abroad (England, Egypt, Holland, Nigeria), where he was able to deal with different cultures and refine his artistic sensitivity. In his works he seeks a cognitive deepening, a penetration beyond the appearance of things and demonstrates a particular ability to juggle with various pictorial techniques. Some of his works are permanently exhibited in the “Spazio Rosso Tiziano”, “Atelier d’Arte” and “La Spadarina” galleries in Piacenza and at the Italian Embassy in Nigeria, “Flora Holland? From Naaldwijk (Netherlands). The Conductor Maestro Riccardo Munti owns a portrait of him made by the artist. Exhibitions: 2010 – “Art in Mind” at “The Brick Lane Gallery”, London (UK), “Cultural Evening with Paolo Terdich – a contemporary Italian painter”, solo exhibition at the residence of the Italian Embassy in Nigeria (Abuja).

- Maria Teresa Prestigiacomo, press release: “Sacredness and Spirituality” – “La Pigna Gallery, Palazzo Pontificio Maffei Marescotti”, 20th December 2011.

“Eros and passion meet water, as a symbol of spiritual regeneration. Heavenly, blue, azure water, like the Madonna's mantle, the heavenly and blue of rebirth… Immersing yourself in the amniotic fluid, in a Freudian return to the maternal womb for a sort of spiritual purification… eros and passion… in the water… dilute those characters, those not entirely positive connotations, to charge themselves with those spiritual energies that lead back to the sacredness of a Hindu ablution in the Ganges river…

The dynamic action is well translated by the artist through the careful sign that, sinuously representing the female body, supports and records body postures and movements. Keen observer, Terdich of anatomy, like the masters of the past, he captures the kinetic action; the chromatic counterweight is excellent, in the compositional harmony of the work. The technique delivers us to the transparency of those limpid and clear waters, the "clear, sweet, fresh waters" of distant Petrarchan school memory, to courtly love, in the Terdich version, projected into the third millennium".

- Daniele Radini Tedeschi, on the book: "Contemporary Art Itineraries, from the Crisis to Figuration with a look at the Rome Triennale 2011 - International Exhibition of Visual Arts 2011", October 2011.

The power of light makes what elsewhere would be called true almost enchantment, light blue and blue are often recurring colors in the artist's works; each element is carefully placed on the table with meticulousness and precision in a harmonious composition.

- Caterina Randazzo, on the magazine “Effetto Arte” (directed by da Paolo Levi): “Paolo Terdich - The objective reality of a lineament”, July/August 2011.

“A portrait is not a copy from life, but something more. The artist must be able to grasp, from the features, the salient characteristics of a subject, his personality, his soul. Paolo Terdich's painting, so legible, immediate, "finished", knows how to grasp the most intimate secrets of a face and, rich in detail, analytical and lenticular, sometimes borders on hyperrealism. Starting from the physiognomic analysis of the subject, he investigates its psychology with a rigorous and almost scientific method. By making a portrait, he studies their expressions and gestures, with the aim of making the objective work of art coincide. The drawing is defined with technical skill and the shadows, made with gray and black, respect the best chiaroscuro tradition. Terdich applies to his painting the methodical rigor of a science, of a psychological analysis conducted through the investigation of objective data. His attention is focused on man and his art is thus understood as a "human document", presenting itself with the sharpness that is required in a photographic interpretation. His works find correspondence in the historical currents of Realism and Naturalism, revealing themselves capable of interpreting our contemporaneity with the uses, habits, states of mind that fidelity to truth makes clear, like mirrors that reflect our own identity. ”.

Paolo Terdich, born in Piacenza, lived several years abroad (England, Egypt, Holland, Nigeria), where he was able to deal with different cultures and refine his artistic sensibility. In his works he seeks a cognitive deepening, a penetration beyond the appearance of things and demonstrates a particular ability to juggle with various pictorial techniques.


- Daniele Radini Tedeschi, on the book “The exhausted hourglass – Paolo Terdich” – published by “Rosa del Venti”, August 2011.

"Virtuosity in an artist is often synonymous, alas, with inventive weakness, since the technical datum surpasses the space of the imagination so much that being satisfied becomes ordinary. This is not the case with Paolo Terdich, who combines his mastery on the one hand technique of figurative-surrealist setting, on the other the curiosity of the subject. The vision surpasses the seen, the dream precedes the sign, the mirage confirms the abyss. What interests the artist is in fact this mass, which conceals and transfigures everything in its hypnotic secret, which it hides, but reveals only through a fine psychological introspection".


- Guido Folco, on "Catalogue of the International Italy Art 2011", 3rd May 2011.

“Great mastery of the technique, perfect union of oil and acrylic to create a work in continuous evolution, dynamic, floating among the waves of the water. The fluid and iridescent element, under the light of the sun, takes on the most diverse and deep shades of blue, allowing a glimpse, with exceptional skill, of the shadow of the body swimmer's bit. Other than computer graphics: the artist's profession is always and mainly the skilful use of color and pictorial material".


- Caterina Randazzo, on the magazine "Effetto Arte" (directed by Paolo Levi): "Critical Look - Paolo Terdich - The Power of Water", March/April 2011.

“At first glance, Terdich's work is an analysis of reality with a photographic imprint, but, upon deeper study, it is also a personal investigation of an inner world. The search for details becomes incessant, to the point of making his art an enchanting example of realist painting. Eclectic in the choice of themes and means of expression, he creates his subjects with obsessive care. The rendering of the portrait plays an essential role in his painting and all the characters, in intimate and concentrated attitudes, are described in detail. The central theme is that of water and here the artist's interest in the physical and inner rendering of the character is supported by an almost scientific study of the anatomical factor. The description of the body, its movement in the water and its graphic effect are essential elements. Immersed men, in the act of swimming in a clear sea. The vital swaying of the water creates whirlpools and small waves and the painting moves, with copiousness of detail, in the direction of an increasingly realistic study".


- Fabio Bianchi, on "Libertà": "Terdich at the Internazionale Italia Arte - In Turin this month. The other commitments of the artist from Piacenza”, 3rd May 2011.

"He is still little known in Piacenza, but in Italy and abroad the painter Paolo Terdich has received satisfaction and there is no shortage of it. Far from it. As demonstrated by the various initiatives that involved him in this period, thanks to his elegant and refined painting, especially to his inquisitive and romantic portraits at the same time.Among the many, we remember the participation in the art fairs of Forlì (March 25-27) and Carrara (April 9-17), while his works will be exhibited in a group show in the prestigious Ros'Art Gallery, in Roses, Costa Brava, near Salvador Dalì's residence Terdich was also selected – out of a large number of participants – for another interesting event, the Internazionale Italia Arte 2011, in program in Turin in May, in combination with the 150th anniversary of the Unification of Italy.It was also included in the international exhibition EmozionARTI, set up in the Galleria Civico69 from 22 to 28 May in Florence, organized by the association one “Artists in the World”. Even his self-portraits were successful, so much so that they were included in Power of Self, which, starting from the American "Artists Wanted", intends to re-evaluate that genre. Not even the magazines have neglected his work: Terdich has in fact appeared in "Artantis.info", "Sguardo Critico" column of the bimonthly "Effetto Arte" and in the latter directed by Paolo Levi, as well as in the volume I Grandi Maestri, always favoring the incisive portraits often done in pencil or charcoal and always expressing great humanity”.


- Maria Teresa Prestigiacomo, press release: “Terdich: a cultured painter of the third millennium”, 30th April 2011.

"Terdich favors the figure in his works: it is precisely the attention to the figure that distinguishes him. The drawing is articulated and transformed into a representative space that weaves stories and tales aimed at exploring a visionary reality of the artist's own. That by Terdich, a cultured painter, is a search for beauty, for light, through water, a symbol of primordial birth, in particular, a search towards a dimension of knowledge of the truth or the unfathomable. It all begins, if we were to create a history, through the works of Paolo, from the morning, from breakfast in the morning: the one that, apparently banal in its representation of Still Life, traces the distinctive signs of the people who populate a house and everything in it flows back, lives, therefore, its own life new: a Still Life, therefore to meet a new life.In Terdich's works in which the artist manifests his strong love for water, he represents a dark or light backdrop of water , that table where the eye spreads, as the result of an impeccable background that lets you perceive the artist's careful technical study. The Italian painter enunciates the inspiration of his expressiveness nourished by a figurative passion on which he leverages to obtain the most ambitious of aesthetic objectives: "through the visible, achieve the experience of the invisible", as philosophers dare to say. His women probe the depths of water: they are dreamlike depths; his works show transparencies created in his poetic hyperrealism with particular care but with a hyperrealism that is never cold and detached. The eye does not rest, as the Cistercian monks say, from their "Carthusian" works except in the walls on which the still lifes stand out; the eye find rest in the wondrous ripples of the fresh water of a swimming pool or the water of the sea".


2010:

- Fabio Bianchi, on "Libertà": "The painter from Piacenza Terdich protagonist of "Art in Mind", 22nd Aug. 2010.

"Piacenza – Myth of the artistic counter-culture of the 60s, London today is once again an essential reference point in the contemporary artistic debate, to the point that any motivated artist would aspire to go there. And the painter from Piacenza Paolo Terdich is currently the co-star of Art in Mind , an interesting collective organized by The Brick Lane Gallery, an established exhibition structure known above all for its proximity to “Street Art. After the success achieved a few months ago in Brazil, Terdich is once again breathing the cosmopolitan atmosphere, dealing with international environments: expressly invited by the director of that gallery, who had noticed him in another event, the "Celeste Prize". Terdich in London exhibits works taken from the latest series, Acqua in large part, but also Hands and Faces. The layout of the works is traditional , the figurative predominates, but we also find penetrating investigations into everyday life, rooted in that American Hyperralism partly transmigrated to Italy. But of that movement Terdich receives only the precision of the detail, the soul and the inner light of the portraits and not the underlying existential problems, especially that desperate duplication of reality in the absence of solid ideals. In his canvases we find the centrality of the figure, the unity and nobility of the person, the magnificence of the colors that always create particular atmospheres, an intense and particular feeling with the observer".


2009:

- Giovanni Chiara, in the Catalog 2009 “Avanguardie Artistiche”, published by “Centro Diffusione Arte, Edizioni e Review Artistiche”.

“…Looking at Terdich's works, whether they are polychrome or in black and white, one understands what levels the representation of reality can reach, and what implications can be contained in a final result that a summary cataloging could define as hyper-realistic. Terdich "has a hand", and what a hand; but not only. His technical skills are remarkable, and are associated with the most varied expressive impulses, all however within the context of a clear representation that recalls the definition and micro-contrast of photographic lenses. It must be said that these are not exclusive qualities: those who practice the artistic world have encountered multitudes of hyper-technical hyper-realists. Terdich, however, is distinguished by a component that goes beyond the albeit skilful reproduction of reality, that is, expressive restlessness. It is a restlessness that does not shine through in the crystalline still lifes, or in the pure astonishing portraits, or in the highly colored landscapes. The series of works from which emerges the intellectual restlessness and creativity of an author who is too talented to remain a slave to his own technique is that of the "aquatics", paintings with a very modern taste and complex execution, "American" if they were barely those generous dimensions that artists from overseas use, with the subjects that shatter the crystal of the water into decomposed reflections that break up the bodies that generated them. Living works, and this with all due respect to those who today arrogantly make it a point of honor to look with disdain at figurative artists, and with diffidence at hyper-realists. This may be the synthesis of a painter who has before him possibilities of great importance, and probably also the stubbornness of putting them at the service of his own desire to express himself…”.


- Dino Masarà, in the magazine “Boè”, Nov./ December 2009.

“The realism of master Paolo Terdich rightly sets the standard. His is an art that dialogues with instinct, endowed with communicative, spontaneous and robust power. A formidable cognitive experience that outlines the feelings and potential of the human soul".

- Carlo Francou, on “Libertà”: “Water is transformed into a territory of light and reflections”, 17th September 2009.

The surface of the water and its reflections that generate a confusion of just mentioned shapes. Paolo Terdich's transparencies seem to want to explore the possibilities of perception of reality through a physical state that tends to cause deformations, ripples, fragmentations. The field of the visible thus becomes the space of vision and colour. Water, symbol of life, purification and vigor is transformed into a territory of light and reflections. The first observation is that those transparencies transform swimming into a sort of dance which at times seems to push those bodies towards the bottom, in other cases it lifts them up as if they were in flight. Then the gesture of a vigorous stroke, the explosion of the particles upon contact with the body stopped in the moment of the dive or of a vigorous stroke and that water collected between the hands, almost a symbol of existence that flows relentlessly between the fingers and the folds of life. Finally the compositional plot, with the brief hint of the bright colors of a costume in the continuous metamorphosis of the water tiles that light up the composition making the entire tonal range of blue and light blue vibrate. More transparencies that, little by little, lead to discovering what is hidden under that liquid trellis that covers everything, preserving the moment of intense and autobiographical emotions.


- Fabio Bianchi, on “Libertà”:“Terdich, sensations of movement and freedom. At the Spazio Rosso Tiziano the personal exhibition of the artist from Piacenza”, 17th September 2009.

“Piacenza painting has evolved considerably in recent years thanks to movements of national importance but also to individual artists such as Paolo Terdich who, in just a few years, has developed a particular style. And in the solo show Transparent emotions, until 26 September at the Spazio Rosso Tiziano gallery, Terdich exhibits his latest production, numerous works - above all oils on canvas but also acrylics, watercolors and pencils - demonstrating the excellent level achieved. Born in Piacenza (1960), self-taught, he made his debut late but quickly recovered, also obtaining prestigious awards abroad. The debut is linked to Hyperrealism which had mixed fortunes in Italy but Terdich only takes up the executive precision not the dramatic inner emptiness that gripped above all the American artists of that area. By vibrating different souls in the painter from Piacenza, a variety of subjects emerges, not just a lacerated reality or the coldness of objects emptied of meaning by the increasingly commercial Pop Art. nuances and feelings far beyond the sharpness of Photorealism. It goes further by tackling difficult themes such as the Acqua series which it presents here in around twenty medium- and large-format plates: in the center there is always a man immersed in a blue liquid mottled in a thousand rivulets, with a more or less intense colour, periwinkle blue to cobalt blue. It is an important point of arrival, very important, in his poetics: once fidelity to the model has disappeared, everything becomes more fluid and imaginative. These atypical swimmers are new, unprecedented subjects and, due to compositional dynamism and chromatic vivacity, communicate infinite sensations of movement and freedom. Terdich now meditates on perception, the temporal dimension, rejecting iconographic ambiguity but focusing only on dense human implications, on the concentration of gazes and attitudes as in the Hands and Faces series. Feelings emerge, emotions therefore become "transparent" in Terdich's visual universe which now moves with greater confidence, rejects implacable formal perfection, favoring the inner sphere, in line with the great Italian historical and figurative tradition.


- Elisa Malacalza, on “Libertà”: “Nature and women: a continuous dialogue”, 15th September 2009.

The days of Pucheria. At Spazio Rosso Tiziano "Turquoise Woman", the exhibition by Paolo Terdich that blends his works between psychology and a comforting aesthetic.

“It is clear that the thought is annoying, but as a fish it is difficult to block because the sea protects it: it is not so much a reflection on "how deep the sea is", as what emerges from the water by looking at Acqua 6, image promoter of Paolo Terdich's personal exhibition, exhibited at the Spazio Rosso Tiziano from last Friday to 26 September. Something emerges and something remains underwater: indeed, it is only a foot that emerges but, after all, it is from the feet that the first steps are taken. There is no fear in Terdich's figurative work: the water lets the meaning leak out, it is crystalline, as if the woman and the water were reunited in a completely obvious way. A redemption: the liberation of a dive, female emancipation, the desire to be there even if not in an obvious way, remaining veiled, semi-hidden by the waves. Yet free. That difficult-to-block thought runs through the union of a line that is not at all straight, rather zigzagging where the artist from Piacenza investigates the woman, absolute and undisputed protagonist of the three days of Pulcheria, the cultural event that has just concluded in Piacenza, through an additional quid that remains from his geology degree. Nature and women: where does one begin and where does the other begin? Turquoise woman therefore asserts itself as a breath of transparent emotions, the sideshow to the first. Water as authenticity? From an artist who has traveled to England, Egypt, Holland and other countries, it is expected that the link with a water that is never still, never tired - abundant in Great Britain when extremely essential and interwoven with the humus of the Nile in Egypt - gushes from each painting to say: I'm here. And give space to a woman all faces and touching hands, concrete finally, not water but body, ec1ctic between charcoal, acrylic, watercolor. Never on surface but the absolute depth of a mature artist who fuses - and plays on this fusion - between psychology, even surgical, sectional, and a comforting aesthetic, which he does not abandon. Lips, gaze, emotions: a story, multifaceted and pedantic like the indefinite and captivating turquoise. The spectator is freed in this direction through the continuous plasma of a material painting that seduces, melts, does not crack. It makes itself understood, it is democratic. Because woman, mother and water, is. Even the woman who hides in a glance and still doesn't know what she is and like a fluid, tends to adapt to the single container, filling her existence with things, meaning, ...? Everyone has their own answer to this latest Terdich: it is certain that the woman - Pulcheria has demonstrated this - continues to drag her enigma along with her. Indeed, she carries it with her head held high ”.

- Roberta Suzzani, in “La Cronaca”: “Talking with the hands - Paolo Terdich on display. Today the opening at Rosso Tiziano among the initiatives of Pulcheria 2009”, 11th September 2009.

  “Donna, from the Latin donna, syncopated form of domina, i.e. "mistress". And women are certainly the undisputed "masters" of the exhibition in Paolo Terdich's exhibition which opens today at the Spazio Rosso Tiziano (via Taverna 41, at 7.30 pm) as part of the Pulcheria 2009 initiatives. After "Transparent emotions", an exhibition which it opened on September 26 - today the curtain also rises on "Turquoise Woman". Two paths for a single artistic sensibility, that of Paolo Terdich, an artist from Piacenza with a gypsy soul who shaped his pictorial style thanks to his travel instinct. His life experiences lived in England, Egypt, Holland, Nigeria are found in his painting, suggestions of cultures that complete the formation of an artist who never stops pursuing the new. At the Spazio Rosso Tiziano, alongside the great works dedicated to water from the "Transparent emotions" cycle - in which Terdich analyzes the instability of the liquid and its way of influencing the perception of the human form - there is space for the latter, stripped of each filter: simply the man, or rather the woman. Faces and hands. The expression is not the prerogative of the eyes and Terdich knows it well. In his works with a realistic stroke and photographic cut - in some cases cinematographic - the artist concentrates his attention on emotion, or rather on the expression of emotion. In an era where the face is constantly the center of attention, where the image is the communicative language par excellence, Terdich rediscovers the ancient art of the portrait. He takes a step back, gives way to hyperrealism and re-enters the dimension of art which must not only "copy" the truth, but must invest it with new beauty, with new harmony. This willingness to transpose the true cloak of art is fully shown in the portraits, but even more in his hands. The artist is fascinated by the gestures, the movement, the twisting that the hands sometimes perform almost involuntarily, certainly unconsciously. An expressive fan too often engorged, hidden in plain sight on which the light is turned back on. Terdich eliminates the body and lets the hands do the talking. Those hands that are both expression and creation of art. Also in this case the artist wants to break the mould. Hands are usually not the subject of a work of art, but rather the tool with which a painting or sculpture is created. Not here. Terdich goes back to academic studies on anatomy, those studies that student-artists need to understand the concept of perspective and proportion, and he dresses these studies with a new intense linguistic process. He makes real portraits of them. Portraits of women".


- Roberta Suzzani, on "La Cronaca": "Terdich, the story of transparent emotions", 5th Sept. 2009.

  “Water comes from the earth. The soul is born from water”. Heraclitus

“Water and woman. Many believe that "water" and "woman" can be considered synonymous. Givers of life, symbols of purity, origins of the world. Paolo Terdich is one of these. In the one-man show that will open this afternoon at the art gallery, Spazio Rosso Tiziano - via Taverna 41, inauguration at 6 pm - the themes of "water" and "woman" mix, becoming one. Because if it is true that "Transparent emotions" (which will open today) and "Turquoise woman" (an exhibition which will be inaugurated on Friday September as part of the Pulcheria initiatives) are two distinct exhibitions, it is equally undeniable that the common thread is unique: life, its symbology, its mysteries and the irresistible need to investigate it, until immersing yourself in it. On the other hand, water has always fascinated human beings. The vision of water as a source of life becomes the myth of the aquatic origin of the cosmos in many ancient cosmogonies. In the Mesopotamian poem Enuma, for example, Elis Apsu and Tiamat, for divine sonifications of fresh waters and salt waters, mixed giving rise to new gods who, in turn, generated others. And when the god Marduk kills Tiamat and cuts her body in two, he creates heaven and earth: the birth of the world. For the Greeks, the oldest god of water is Oceanus, son of Gea (the earth) and Uranus (the sky). According to Homer, everything originates from the union of Oceanus and Thetis. Also in Genesis God gives rise to the world starting from the waters and creating the firmament "which keeps the waters apart" from the waters. From the lower ones the earth is generated. Water origin of life, like the woman. In "Transparent emotions" water is the absolute protagonist of the narration. Terdich dresses the first love of her life - the human being, undisputed star of "Woman Turquoise" - with new life by immersing it in water, deforming its shape, modifying its essence. The presentation to the exhibition reads: «immersed in the transparent liquid - whose symbolic component has its roots in the sacredness of baptism, purification, rebirth, but also simply in the wonder of nature - the human figure loses itself in it, letting the water distorts its contours, mixing with it almost becoming part of it. Man and water become, in Terdich's works, two sides of the same coin: that of life”.


- Patrizia Mazzei, press release: “Transparent Emotions and Turquoise Woman at the Rosso Tiziano Art Gallery”, 5th September 2009.

"Heads or tails. Better still "and". Heads and tails. Two sides of the same coin inseparably united. Two, yet one. "Transparent Emotions". "Turquoise Woman". Two exhibitions for a single artist: Paolo Terdich. The artist from Piacenza - but son of his wandering life in the world - "doubles" for the exhibition that will see him as the protagonist at the Spazio Rosso Tiziano in September. Head. "Transparent Emotions". The first exhibition which opens on Saturday 5 September at 6 pm. Here, water and the fascination that human beings in general and Paolo Terdich in particular have for this essential component of the terrestrial universe are the protagonists. Cross. "Turquoise Woman". The exhibition within the exhibition - but living on its own - which will open, however, on Friday 11 September, again at 6 pm, as part of the initiatives related to the other half of the sky of Pulcheria 2009. Water and women. Two more sides of the same coin. A dialogue that runs through the entire production of Terdich, born in Piacenza, but who, as mentioned, lived abroad for years, growing culturally and artistically in England, Egypt, Holland and Nigeria. It is in a mixture of languages that the artist derives his personal way of expressing himself. A realistic language, sometimes so extreme as to touch hyperrealism, but at the same time surreal precisely because of the same perfection of the forms with a photographic cut that characterizes the work. Surreal realism that is sublimed in the cycle that Terdich dedicated to water. In "Transparent emotions", large-scale works made in oil or acrylic, the artist grapples with the most difficult challenge for a painter: the rendering of water, the story of the sparkle of light on a perpetually moving surface. The absolute protagonist of the narration, water, gives way to Terdich's first love - the human being - giving him new life. Immersed in the transparent liquid - whose symbolic component is rooted in the sacredness of baptism, purification, rebirth, but also simply the wonder of nature - the human figure gets lost in it, letting the water distort its contours, mixing with it almost becoming part of it. Man and water become, in Terdich's works, two sides of the same coin: that of life The human being is instead the only protagonist of "Turquoise Woman". The exhibition brings together a selection of faces and hands from the other half of the apple. It is in these works that the artist demonstrates his technical and linguistic eclecticism. Charcoal, acrylic, watercolor. A whole range of modus operandi with which the artist grapples while tackling another challenge: the representation of the face and the expression of the hands. Hands that speak and excite, intense like a look, talkative like two lips. Hands that never stop telling an all-female story. "Transparent Emotions" and "Turquoise Woman". Two sides, one medal. But after all, water and woman are one and the same”.


- Claudio Raccagni', review: "Terdich and water", 10th February 2009.

“I admit that I dissolved in the work of Paolo Terdich: "Acqua", for the strong sensation of fusion that exists between the water and the immersed man. A man who is physically hard, almost rocky, but it is the water that makes him much simpler, sweeter, almost that without her, that man would be insignificant.

Energy, life: Terdich's water comes out of the canvas to shape itself inside the public who observes the work, because that water is real; you feel it on you, inside... incredibly fresh. The simple, but clear, message of life, of dreams, of the desire to return to the natural, uncontaminated past and the need to be able one day ... to breathe water too. This is the power of Terdich's work: you can breathe water in this work.


- Fabio Bianchi, on "Libertà": "With the painting Acqua, the Piacenza painter Paolo Terdich the prestigious Arte and Celeste 2008 awards", 4th January 2009.

“The painter from Piacenza Paolo Terdich is climbing the difficult, in some cases unattainable, peaks of Italian painting with discretion and infinite will. After the successes obtained in local competitions and exhibitions, he has recently obtained prestigious awards in important international initiatives such as the Arte 2008 Prize organized by Mondadori editorial through the monthly Arte or the equally prestigious Celeste Prize 2008. In the first he was included among the 50 semifinalists in the Painting category obtaining the well-deserved Diploma of merit, exhibiting at the Palazzo della Permanente in Milan and publishing the work presented in the Art magazine, Acqua, depicting a man swimming in a dense liquid chipped with blue and blue, a metaphor for the difficult human condition , of daily problems, of life that envelops us in an indissoluble embrace. In the second, curated by the Albero Celeste cultural association of Siena, again in the Painting section, he was almost included in the 25 finalists (29th out of 100 selected from over 600 painters). Why such success? Terdich is a refined artist, until a few years ago inimitable in pencil drawing, then increasingly oriented towards hyper-realistic paintings in oil and acrylic on canvas where he has always sought, assuming a path of the soul and through images of extreme clarity, not only the appearance but also the interiority”.


2008:

- Dino Masarà, in the 2008 Catalog “Grandi Maestri”, published by “Centro Diffusione Arte - Edizioni e Review Artistiche”.

“An artist, Paolo Terdich, endowed with an innate talent who presents reality by managing to grasp even its most intimate vibrations. Each constituent element of his works thus acquires a singular meaning that better frames the well-defined artistic personality of the artist. A poet of color and light who uses metaphors to stimulate the viewer's imagination, helping him to free himself from the usual schemes, guaranteeing him satisfying visions and reinterpretations of reality in a personal and universal key".


- Catalog 2008 “Artistic Avant-Gardes”, published by “Centro Diffusione Arte - Artistic Editions and Reviews”.

"... Graduated with honors in Geology, he has always dedicated himself to painting, confronting himself with different cultures that allow him to develop and refine his artistic sensitivity. Terdich manifests an evident ability to juggle different techniques, which he masters with mastery of a mature artist: oils, intense, scenographic and close to hyperrealism; watercolors and acrylics, poetic and taken up with an evanescent luminosity; portraits in graphite, unsurpassed for humanity, feeling and expressive tension. Terdich proves to be an eclectic artist, perennially in search of the new and the different, experiencing it as a challenge; the pleasure of discovery is accompanied by the pleasure of success. He confirms his interest in figuration and composes realistic works in which it is possible to observe a lyrical suggestion that involves the spectator. Unpublished are the his still lifes, very personal in the interpretation of light and in the choice of subjects. Terdich chooses the artificial, which can be glass and steel. What interests him are planes, textures and reflections; dark bottles are superimposed on glasses, goblets, full of just poured wine and with a still trembling surface, or empty. What matters is to vary, to combine the luminous effect of a full, dull surface, such as that of ceramics, with impalpable blown glass. The whole is ordered, symmetrical; at the moment of the event, reflection takes over; extemporaneousness leaves the field to contemplation. In these works the greatness of small things is highlighted. The painter is animated by the same impetus when he paints the human figure, which he prefers. Whether he outlines it in oil or in pencil (a technique in which he demonstrates all his talent), in fact, beyond the anatomy, he takes care of its pose, which is also never casual in this case. The hand that touches the face and supports the head, the lowered and lost gaze speak of melancholy mixed with concern. In his enigmatic figures, the painter is able to bring to light all the problems of the individual through a careful psychological investigation of the subject. He proposes a study of humanity with its pains, its existential sufferings. Your portraits, extremely realistic in their physiognomic definition, which transform themselves into metaphysical presences, are emblems of a state of mind, thanks to the very pure, sculptural light...".


- Elena Gavazzi: "Opera Prima - VII International Art Biennial of Rome - Ars Tertium Millennium", November 2008.

"Paolo Terdich does not deny his interest in figuration and composes realistic works in which it is possible to observe a lyrical suggestion that involves the viewer. Versatile painter is able to bring to light all the problems of the individual through a careful psychological investigation of the subject . His figures are always portrayed in their resigned solitude, perhaps unable to react to their sad fate. What is most striking in these portraits are the eyes that express the most intimate secrets. The everyday objects of the still lifes are immersed in immobility and are elaborated through a balanced composition. The setting of these compositions is simple, essential and there is no room for detail. In these works the greatness of small things is highlighted. This type of compositions are radiated by luminosity. The pictorial language by Terdich enhances an expressive path full of profound contents and d is easy to read. The author knows how to grasp the most significant emotions and knows how to find important values that have been forgotten and trampled on. He carries on a coherent discourse that demonstrates a mastery of color and a remarkable drawing ability”.


- Elena Gavazzi, on "Il Corriere Padano": "The shapes and colors of the soul - At the Atelier Braceschi, Paolo Terdich, Nadia Tognazzo and Giorgio Varani", 16th October 2008.

"The protagonists of the collective exhibition entitled "The shapes and colors of the soul", which was inaugurated just these days, are the winners of the traditional "Emotions and magic of Christmas" competition, organized by the Roberta Braceschi Art Atelier . Last year the winners of the first prizes for painting, sculpture and graphics were: Paolo Terdich, Nadia Tognazzo and Giorgio Varani. The works of the aforementioned authors are present in this event. Terdich's figurative painting focuses, once again, on both male and female portraiture. Terdich wants to delve into the secrets of the personality of the subjects but above all he wants to convey to the viewer emotions and sensations that arise from the looks of his models. He transfers moments of real life to the surface of the canvas, captures moods, analyzes existential problems and leads the observer to reflect. His characters reveal a remarkable expressiveness and are never depicted with other individuals, perhaps to underline the solitude of contemporary man. Terdich's works are distinguished by a strong realism of the human figure. This painter also creates landscapes full of lyricism and suitable for suggesting magical atmospheres. The panoramas are the vision of infinite spaces and pristine places where silence reigns. The color combinations release the energy of the colors…”.


- Silvia Bonomini, on "La Cronaca": "The shapes and colors of the soul, three artists interpret emotions", 12th October 2008.

  “The winners of the ninth edition of the “Emotions and magic of Christmas” competition exhibit at the Atelier d'Arte in via Calzolai. "The shapes and colors of the soul" is the title chosen by Roberta Braceschi for this group show of three artists where each work becomes a container of emotions and lived experiences. Paolo Terdich's research develops in a poetic dimension and he builds the space where he can insert soft and delicate colors capable of creating a surreal atmosphere capable of stimulating the imagination. His portraits absorb the variability of shadows, penumbras and lights and underline a composition of great quality and decorative impact. "Regret" or "Waiting" take up the humanity of people thanks to a psychological analysis that is highlighted in the difficult agreement between light, shape and color. The overall expression of the work instills a sense of serenity and positivity: the characters on the canvases are shaped with the intention of making a visual and mental dream come true to dream of being happier… Three protagonists for an exhibition that leads us back to art as the result of suggestions and emotions.”.


- Fabio Bianchi, on "Libertà": "Piacenza art - Paolo Terdich's hyper-realistic canvases awarded in Rome in two competitions", 30th July 2008.

“Paolo Terdich is a painter from Piacenza little known by the general public but very good. And the recognitions, now dutiful and unavoidable, have not been lacking in recent times for hyper-realistic canvases of exquisite workmanship. In fact, he was first among the top ten in two interesting events of European importance promoted by the CIAC. (International Center for Contemporary Artists) and held enters both in Rome, Palazzo Brancaccio: the XX edition of the Premio Primavera, poetry, prose, art and entertainment competition and the VII Biennial of modern art Rome 2008 - Ars Tertium Millennium. In two years, the latter has selected 130 artists, not only Italian, and the first ten in December will be able to exhibit at the Museum of Modern Art in Sao Paulo, Brazil. A few days ago in Florence, as part of the first edition of Heirs of the Renaissance, he received an important certificate for the work Acqua (man swimming among broken and glittering waves) but also the honorific title of "Cavaliere dell'arte" . In recent years, Terdich has courageously taken up Hyperrealism, a movement that raged above all in America between the 60s and 70s, exalting photographic objectivity and stylistic clarity. However, his compositions convey humanity, they do not cause restlessness and discomfort like the glorious American examples, on the contrary they stimulate the vision, they are a late-impressionist legacy. Hyperrealism with Terdich has become not a provocation or iconographic coldness but an extreme, probably not definitive result of western perception and representativeness”.


- Giovanni Chiara, review: "Terdich faces water and human figures", 10th May 2008

"The figurative work is intended to speak for itself. Contrary to what derives from the informal, which must be motivated and declined in order to understand its essence, it does not need mediation. The author can explain which technique he used (but this too can be easily detected) or, at the very least, confess what reason prompted him to represent a certain thing instead of another. The rest, if any, will be up to critics, cultural promoters and essayists, certainly useful , but not necessary for the understanding of what one is looking at.However, the figurative offers itself to multiple interpretations, both due to the individual sensitivity of the authors and their actual technical skills.

Looking at Terdich's works, whether they are polychrome or in black and white, one understands what levels the representation of reality can reach, and what implications can be contained in a final result that a summary cataloging could define as hyper-realistic.

Terdich "has a hand", and what a hand; but not only. His technical skills are remarkable, and are associated with the most varied expressive impulses, all however within the context of a clear representation that recalls the definition and micro-contrast of photographic lenses. It must be said that these are not exclusive qualities: those who practice the artistic world have encountered multitudes of hyper-technical hyper-realists. Terdich, however, is distinguished by a component that goes beyond the albeit skilful reproduction of reality, that is, expressive restlessness.

It is a restlessness that does not shine through in the crystalline still lifes, or in the pure astonishing portraits, or in the highly colored landscapes. Terdich's intellectual disquiet breaks out from two different yet fundamentally complementary series of works.

The first is the one that includes what has always been the toughest battlefield of figurative artists, that is the reproduction of the hand. As trivial as it may seem, for painters of all ages the hand has been the most difficult object to depict. We need to pay attention: in works characterized by perfect faces and bodies or clothes of absolute clarity, the hands, whether they belong to a Renaissance painting or a nineteenth-century portrait, often appear blurred, wrapped in a sort of fog resulting from the limits of the technique.

The hands designed by Terdich are instead exceptional. They talk. They tell. They live autonomous lives, and appear to be representations of the soul.

The second series of works from which the creativity of an author who is too talented to remain a slave to his own technique emerges is that of the "aquatics", paintings with a very modern taste and complex execution, "American" if they were as soon as they were of those generous dimensions artists from overseas use, with the subjects that shatter the crystal of the water into decomposed reflections that decompose the bodies that generated them. Living works, and this with all due respect to those who today arrogantly make it a point of honor to look with disdain at figurative artists, and with diffidence at hyper-realists.

This may be the synthesis of a painter who has before him possibilities of great importance, and probably also the stubbornness of putting them at the service of his own desire to express himself".


- Fabio Bianchi, in "Libertà" of 29 January 2008 - article by Fabio Bianchi: “Reward yourself for the emotions and magic of Christmas”.

  “Official conclusion of the 9th edition – consecutive and increasingly followed – of the painting, sculpture and graphics competition Emotions and magic of Christmas organized by the Atelier Braceschi. And it shows: numerous participation, enthusiasm, passion, creativity, increasingly refined works selected by the qualified jury… The competition reaffirms the centrality of a gallery well inserted in important national circuits… To note the absolute first prize in the painting of Paolo Terdich from Piacenza with Acqua, swimmer who emerges, unusual cut, faceted blue fluid, magical levity…”.


2007:

- Giovanna Ravazzola, on "La Cronaca": "Winner of the Autumn Art Award - The painter from Piacenza has also received the prestigious award", 7th November 2007.

“...Paolo Terdich was awarded, in recent days in Rome, by the Directorate of CIAC (International Center for Contemporary Artists) with the “Autumn Art” award. The review, now in its 19th edition, had the patronage of the Municipality of Rome and the Mayor Walter Veltroni, and took place in the hall of the Promototeca del Campidoglio. The commission, made up of art critics, scholars and journalists, awarded the artist for "artistic merits, proven by his curriculum vitae, artistic production and critical notes. The president of CIAC, Giuseppe Chiovaro, in his inaugural speech highlighted the prestige and charm that this award emanates, from an artistic and social point of view, reiterating how the language of art, in its infinite expressions, always moves in search of a culture addressed to the moral and social values of those who, in contemporary society, operate through personal creativity and in full freedom of expression. During the event, the names of the winning artists of the selection exhibitions at the VII International Art Biennale in Rome were announced, which were held in various Italian locations including Piacenza, at Roberta Braceschi's Atelier d'Arte. Precisely on the occasion of this selection (won ex aequo by Terdich, Valentina Crivelli Tiziana Felisi), the CIAC management was able to appreciate his production by selecting him among the winners of the “Autumn Art 2007 award. An award that really brought luck to the artist who will have the opportunity to exhibit at the Purificato Italarte Gallery in Rome and in the Sala Paolina inside the Pope's summer residence in Castel Gandolfo. Terdich will also compete in the VII Biennale, "Ars Tertium Millennium", which will be held at the end of January, in the Sale del Bramante in Piazza del Popolo. He will be in the company of other selected artists who will compete to represent Italy in a collective exhibition in São Paulo in Brazil ... ".


- Giovanna Ravazzola, on "La Cronaca": "The human figure in the foreground - In the paintings of Paolo Terdich exhibited in Sant'Ilario", 7th November 2007.

“... Portraying the human figure is the vocation of Paolo Terdich, an artist who is currently exhibiting his canvases at the Galleria Sant'Ilario. Entering the space, a stone's throw from Piazza Cavalli, you are welcomed by a series of portraits in a bright glass showcase; they are faces outlined with soft strokes of dark graphite that portray women and men from distant places, with exotic African physiognomies. Graphite and charcoal are the means by which the artist is best able to express himself, in our opinion, and it is easy for him to bring the portrayed characters to life, catching expressions that can easily be guessed, hidden under large eyes and amber skins, their feelings and moods. We move forward and on the walls we see young women intent on looking at us, they are young people with beautiful faces, thoughtful, absorbed, depicted in a moment of meditation and rest from the frenzy of daily life; Terdich describes them, playing with light and shadow, leaving alive the halo of mystery that is hidden in the depths of their soul. And then there is a series of landscapes and still lifes. It is the minute details of nature that are described with his brushstrokes; so all of a sudden we find ourselves in front of a fiery sunset full of clouds, pink and swollen with rays of the setting sun. In the field of still life is to be placed the latest experimentation of the artist who wanted to study, in a personal "technical challenge", the transparencies of glass of the most different shapes and thicknesses or the reflections of metals, small sugar bowls or coffee pots in whose faces reflects the environment around them. Thus objects that we find every day on the tables of our homes enter into compositions, enriched with flowers and sublimated by delicate sand or gold backgrounds. Terdich is a painter who tends to research, to perfection, from whom we can expect pleasant surprises in the future".


- Elena Gavazzi, on "Il Corriere Padano": "Paolo Terdich, a prize for lyrical everyday life - Portraits, landscapes and still lifes", 5th November 2007.

“...Paolo Terdich does not deny his interest in figuration and composes realistic works in which it is possible to observe a lyrical suggestion that involves the viewer. A versatile painter, he deals with various themes such as, for example, the human figure which is created with a precise and sure design. The faces of his young women and have a melancholy and pensive expression. The painter is able to bring to light all the problems of the individual through a careful psychological investigation of the subject. His girls are depicted during a moment of rest, in a moment of meditation, reading a book, swimming in the open sea or waiting for an appointment. They are always portrayed in their resigned solitude, perhaps unable to react to their sad fate. What is most striking in these portraits are the eyes that express the most intimate secrets. His women are always young and their poses are resolved with grace and are never vulgar. Nature, on the other hand, is described through an evocative play of light and shadow. In the landscapes the presence of man is absent but it can be sensed in the silence of creation. These views give a sense of peace, serenity and reveal an uncontaminated reality. The fundamental characteristics of the panoramas are: the search for perfection of the line, the fusion of chiaroscuro and the scrupulous formal rendering. Terdich brings to the surface of the canvas the emotions he feels when faced with the beauty of what surrounds us. The need to narrate the spectacle of enchanted woods, of lakes shrouded in fog, of fiery sunsets, of the clouds that wander in the immensity of the blue sky is clear. The everyday objects of the still lifes are immersed in stillness and are elaborated through a balanced composition. The setting of these compositions is simple, essential and there is no room for detail. In these works the greatness of small things is highlighted. They also take into consideration the floral element, emphasizing the delicacy and poetry of a blossoming flower. This type of compositions are radiated by luminosity. Terdich's pictorial language enhances an expressive path full of profound contents and is immediately readable. The author knows how to grasp the most significant emotions and knows how to find important values that have been forgotten and trampled on. He carries on a coherent speech that demonstrates a mastery of color and a remarkable drawing ability. Terdich is not satisfied only with giving life to inanimate objects but tells the real world through his sensitive soul, demonstrating a considerable communicative ability. He maintains a dialogue with the environment and with mankind, leading the user to reflect on everyday life and on relationships with his fellow humans.".

  “On October 31, the painter from Piacenza Paolo Terdich received the “Autumn Art” award from the Directorate of the CIAC (Centro Artisti Contemporanei) in Rome, now in its nineteenth edition. The exhibition was sponsored by the Municipality of Rome and by Mayor Walter Veltroni and the award ceremony took place in the hall of the Protomoteca del Campidoglio in the presence of a large audience. The actors Antonella Salvucci and Giorgio Fiore, the Rossini vocal quartet, the stylist Fabiana Tennina took part in the event. During the event, the names of the winning artists of the selection exhibitions at the VII International Art Biennale in Rome were announced; a selection was also held in our city at the Roberta Braceschi Art Atelier and was won by Paolo Terdich. Terdich's works, having won this event also held in Piacenza, will subsequently be exhibited at the Italarte di Purificato gallery in Rome and in the Paolina hall of the Pope's summer residence in Castel Gandolfo. At the end of January in the prestigious Bramante halls in Piazza del Popolo, Terdich will compete in the selection of the ten artists who will represent Italy during 2008 in an exhibition in Sao Paulo in Brazil... ".


- Fabio Bianchi, on "Libertà": "The pop-art of Terdich - At the Sant'Ilario Art Gallery", 4th Nov. 2007.

“...Paolo Terdich has reached excellent levels in just a few years, not only graphically. And the solo exhibition "Emotions" demonstrates how hyperrealism is today not only an outdated movement but a very vital pictorial trend, perhaps the only artistic declination close to tradition, an ideal continuation of academic painting. The highly refined works of the artist Paolo Terdich relaunch a genre that was all the rage especially in America between the end of the 1960s and the early 1970s, a genre that is rarely practiced in Italy today. Paolo Terdich aims not only at an abstract formal perfection but also at an exquisite, very amiable workmanship which, for chromatic harmony and delicacy of touch, surpasses photographic coldness, goes beyond the purely visual dimension to encroach on the ineffable field of emotions. Like Domenico Gnoli (born in 1933 and died in 1970), the greatest Italian hyperrealist, Paolo Terdich ennobles everyday life with works that avoid complacency especially of American artists and the eccentricity of Pop-art to reach and to a silent, at times impersonal, Metaphysics where, impalpable, one feels the breath of the great painter Giorgio Morandi. Emotions understood as the quintessence of mimesis, but also lenticular realism elevated to an expressive code, not style but value...”.


- Paola Riccardi, on "Il Nuovo Giornale": "The continuous research of Paolo Terdich - The current exhibition in the Sant'Ilario Gallery", 2nd November 2007.

“...Longtime protagonist of exhibitions and competitions in our city, Paolo Terdich presents his latest works until 9 November at the Sant'Ilario Gallery (Vicolo Sant'Ilario – Piazza Cavalli), proving once again to be an eclectic artist, perennially in search of the new and the different, experiencing it as a challenge. Unpublished are the still lifes, very personal in the interpretation of light and in the choice of subjects. Even before fruit and vegetables, living and natural matter, Terdich chooses the artificial, the product of a process, such as glass and steel. What interests him are planes, textures and reflections; dark bottles are superimposed on glasses, goblets, full of just poured wine and with a still trembling surface, or empty. What matters is to vary, to combine the luminous effect of a full, dull surface, such as that of ceramics, with impalpable blown glass. The whole is ordered, symmetrical; at the moment of the event (sensation that governs the first still life, in which an off-screen hand has just placed a glass of brandy on the tablecloth), reflection takes over; extemporaneousness leaves the field to contemplation. The combinations are no longer casual and against the white-pink wall, the whole group stands out against a tablecloth of a glacial blue, soft as velvet. One, two, three glass compositions and curiosity immediately pushes him towards metal, steel; how will you paint? “the discovery of how many colors there are in the glossy and opaque grey, blackened by the fire, of a coffee pot – confesses the author – amazed me”. The pleasure of discovery goes hand in hand with the pleasure of success. The painter is animated by the same impetus when he paints the human figure; whether he outlines it in oil or in pencil (a technique in which he demonstrates all his graphic talent) takes care, in fact, beyond the anatomy, of the pose, also in this case never casual. The hand that touches the face and supports the head, the gaze lowered and lost, seeking isolation, speak of melancholy mixed with concern...".


- Fabio Bianchi, on "Libertà": "Terdich Awarded in Rome", 2nd November 2007.

“...The painter from Piacenza Paolo Terdich was awarded in Rome in the context of the prestigious national art review - Autumn Art - for proven artistic merits. The awards ceremony took place in the hall of the Protomoteca del Campidoglio in the presence of numerous authorities. The report was made by the CIAC (International Center for Contemporary Artists)...”.


2006:

- Carlo Francou: "First Work - VI International Art Biennial of Rome - Third Millennium Art", November 2006.

“… Terdich manifests a profound interest in art and in particular in drawing and painting which he interprets with the hyper-realistic portrait. Subsequently he deepens the study of color, through the experimentation of different techniques and styles, developing a personal and sure imprint, which leads him to juggle both portraits and ethereal watercolor landscapes. Exploiting the decisive monochrome of graphite, he manages to grasp the psychology of a plethora of characters and female figures of widespread sensuality. With graphite he knows how to create those portraits and mobile figures which, despite the absence of colour, have their own expressive vivacity. Numerous watercolors, in which he wanted to capture travel notes with landscapes of rare atmospheres, which he has taken up with an evanescent luminosity that highlights their charm even more ”. “The production tends to document, through distinct techniques and subjects, the various stages of Terdich's artistic itinerary…”.


- Paola Riccardi, on "Il Nuovo Giornale": "The figurative takes center stage at the Spadarina Gallery", 28th April 2006.

“…Terdich, who animates the space with infinite faces (in oil and pencil), engrossed, distracted by a gesture or a thought. He observes them without being noticed in turn. The meticulousness of the details, notable above all in the graphite works, makes us appreciate the epidermis, typical of the age and the race. As scientists of the human race (it is not for nothing that the artist graduated with honors in geological sciences) we find ourselves analyzing them as if they were samples; there is the Afro child with big eyes, the white old man with a face as hard and rough as the surface of the stones...".


- Chiara Bernazzani, on "La Cronaca": "Spadarina, four styles that dialogue", 25th April 2006.

“…This time there are four of them, all from Piacenza .. everyone has their say... Terdich instead exhibits works that reveal a remarkable technical eclecticism: from 1986 to 2006 this Piacenza who traveled and lived in England, Egypt and Holland ranges from landscape to objects reproduced with hyper-realistic intent, from portraits to naked. His watercolors amaze with their unprecedented density of colour, while his predilection for gestures, faces and the study of attitudes and achievements emerges from pencils, charcoals and oils concentrated on psychologically inquiring portraits… ".


- Fabio Bianchi, on “Libertà”: “Piacenza Artists at the “Spadarina”, 19th April 2006.

“… Paolo Terdich reconfirms his qualities: stylistic refinement, absolute calligraphic precision, exaggerated attention to detail. Pencil portraits are unsurpassed for humanity (Son), feeling (Mel) and expressive tension (Music). Some watercolors are beautiful, quintessence of his delicate poetics such as the secular oak of Never Broken or the dense and compact Pond, but some hyper-realistic works are also interesting (Relax). Four new proposals, four capable artists, therefore, four potential protagonists on the scene perhaps not only in the Piacenza area…”.


- Carlo Francou, on "Libertà": "Rome, Piacentini at the Biennale in the rooms of Bramante", 21st March 2006.

“…Finally, the portraits of Paolo Terdich, who deepens the study of color and light with compositions in which aesthetic research is combined with conscious and profound attention to the psychological implications of the human figure, portrayed with skilful balance and delicate figuration…” .


2002:

- Bruno Pollacci, press review: ”ITART2002” 4th mini-graphic & painting worldwide show”, 4th June 2002.

“…Your work could therefore be defined as a work of investigation, a search for hidden truths, within a reality that seems not to be enough, almost confined, sometimes lost (as in “Lost Track”) and rendered almost boundaries of the fantastic. His work communicates his restlessness, his state of mind in the strenuous search for a perfection of daily life, for a dream to be chased relentlessly. From here derives a poetic connotation, rendered above all by the light that seems to come from the very soul of the colour…”.


- Carlo Francou, on “Libertà”: “The worries of Paolo Terdich”, 10th March 2002.

“...Tuscan trip for Paolo Terdich, present in two successive exhibitions in the Pisa/Arte Exhibition Center. The first is a personal exhibition entitled "Inquietudini" (until 25 February). The second (starting from the end of February) will be part of the events gathered under the single title of "Millennium Artist 2002". The exhibition tends to document, through distinct techniques and subjects, the various stages of Terdich's artistic itinerary… They are so present realizations in graphite (portraits and nudes), watercolors and acrylics (portraits, figures and landscapes) and some oils.Overall the figures predominate, portrayed alone, each enclosed in itself and as if confined in space, whose background is often essential , made of simple color. The enigmatic characters are often caught in an attitude of reflection and often convey a sense of restlessness, from which an inner torment transpires. Among the various works on display, "Lost Track" stands out, an oil on canvas depicting a forest in a surreal and evocative atmosphere and a female figure (“Right here, right now”) made in watercolor and acrylic on cardboard that reflects a sort of restlessness and a sense of i solitude accentuated by color choices. The title is a tribute to Cassandra Wilson from her "Travelling Miles". Different atmospheres, as in the case of "Relax", another oil that represents a relaxed situation of apparent calm despite the choice of bright tones and chiaroscuro effects. Three examples that reflect different moods, rendered by Terdich with different techniques, arrangements of volumes, geometries, colors and strokes...".


- Ireneo Lorenzoni, press release: “Expo Arte Pisa 2002 – XXVIII National Exhibition of Contemporary Art”, 26th February2002.

“… From his painting we can deduce the essential role of the drawing, which he executes with invariable precision and extreme certainty in the line. The drawing therefore constitutes a decisive and ineluctable step in the process that leads to the completion of his work…. Over the years he has favored figurative subjects, which he depicts by isolating them from the background with an energy in which lights and shadows seem to vibrate together, or by enveloping them in a surreal atmosphere rendered with the transparency of watercolor, through a revealing light of the soul… The main characteristic that characterizes his painting can easily be summarized in his ability to juggle with different techniques, which, from time to time, he chooses for a better rendering of the subjects he represents…".


2000:

- Carlo Francou, on "Libertà": "Portraits in Africa, travel notes of a painter geologist”, 25th June 2000.

“... Paolo Terdich recently inaugurated in Cairo, at the Italian Cultural Institute, a painting exhibition in which he exhibited numerous works created over the years with a personal and sure imprint, which leads him to juggle both in portraits and ethereal watercolor landscapes. In fact, since high school Terdich has shown a deep interest in art and in particular in drawing and painting; an activity that he then undertook and refined thanks to his friendship with some painters from Piacenza. Later, during his travels abroad and his stay in Cairo, he strongly felt the desire to deepen the study of color, through the experimentation of different techniques, from watercolor to tempera and oil… This year the professional from Piacenza arrives with a personal exhibition at the Italian Cultural Institute in the Egyptian capital sponsored by our Embassy. In the rooms of El Sheick El Marsali, portraits follow one another in which, exploiting the decisive monochrome of the drawing, Terdich manages to grasp the psychology of a plethora of characters and female figures of a suffused sensuality. There are also numerous watercolors, in which he wanted to capture "travel notes" in African and Eastern lands, among belly dancers and landscapes with rare atmospheres, such as that of the legendary temple wanted by Queen Hatshepsut, near Luxor . Having ascended the throne against the will of the powerful caste of priests, she left us the great temple of Doiz El-Bahri in a sort of natural amphitheater in the mountains near the Valley of the Kings, which Terdich has taken over with an evanescent luminosity, which it highlights the charm and atmosphere even more. Painting with transparent watercolors represents expressive immediacy and, through the glazes of pure colors, Terdich achieves the balance of tonal values, between areas in the shade and others illuminated. With graphite, on the other hand, he knows how to create those portraits and mobile figures which, despite the absence of colour, have their own expressive vivacity ... ".

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