There is a kind of ecstasy of imagination in these recent works which the artist has worked in the grip of never-ending and absolute inspiration. Resounding wars and bitter memories are mangled on the stage, exhausting outcomes of incomprehensible fighting from which no one is looser or winner. There is no justice in this world but Kokocinski finds it out because he calls his characters in a real Last Judgment where no one is saved even if the space is full of angelic figures that might be source of consolation. But it is awful the sensation of these bodies that are forming and reconstructing for falling down in this proud theatre full of words. This art is contest of threat, but not because it wants to threat anyone, but because this art flows from a “threat condition” in which the artist is immersed. The artist is targeted by twists of terrible fate and, unlike the film special effects, he might yield to such excess of existence but, instead to die, he transforms his feelings in instances for the construction of images. His dark painting extremely elegant and delicate returns and it is made by changing and sensitive material, a clear reflection of troubled state of mind that is able to distribute fragments of wisdom and relief.
BOZZETTI
LA VITA È SOGNO 1992, disegni a penna su carta
