On meeting his new women, Giuseppina, in 1993, even Mazzucconi’s painting finds its new development: after long quests and, above all, after the profound experience of descending towards the shadows and, later, marching wearily back towards the light, there is the light. It had been present with the dawn’s intensity for quite some time, but now, all of a sudden the day shines brightly: here comes the day of awareness of love and truth. The path, obviously, winds itself on Earth’s surface and in the painting, which seeks to describe it, this is clearly detectable: a physicality, a stability that, at times, may even seem cumbersome, and yet the tree will never grow if, meanwhile, it does not re-inforce its roots. The works that belong to this period are marked by this transition and by the equilibrium that derives by it. This does not mean to say that the equilibrium is fixed and immutable; on the contrary, it occasionally experiences turbulence, often depending on a psychological interpretation of the soul of the beloved one. Mazzucconi cannot help painting her portrait hidden among the features of the figures he paints, at times even unconsciously. His paintings have always been perceptions in which a universal and a specific sense (that he bears in his heart) mysteriously blended together into one complete entity that, simultaneously is also a portait of the loved one. Likewise, his being an architect, leads him to blend the project with the universal idea, spontaneously, every time he plans a construction. There is the genius loci that ‘represents’ the particular building, the psychology of the customer, his own and that certain style which is his. His projects, ultimately, are always authentic portraits of people, places and cities.
(see also our anthological exhibition: A Poetry for the City )