The artist Giovenale creates and donates 16 works to the Prosecutor of Benevento

“Maestro Giovenale has created works thinking and reflecting on their location, on the function of the Public Prosecutor’s Office and on its function”. Thus the chief prosecutor of Benevento, Aldo Policastro on the sidelines of the inauguration ceremony of 16 works that Doctor Giovenale donated to the Prosecutor of Benevento. Paintings located on the various floors of the building in via De Caro with the intention of being able to “alleviate the difficulties of people when they go to our offices”, then continued doctor Policastro.

Works that allow a vision and an open interpretation for the observer. “We can well notice the spirituality that transpires from these works – concluded the procurator Policastro -, and there is an evident open wound in the soul of the artist and of each of us. A wound that aims to heal and points towards the sky ”.

“Oriented Freedom” is the name of the Benevento artist’s collection, which leads to the creation of a relationship between Divine law and earthly law, already present with numerous works in prestigious locations such as the “Gemelli” Polyclinic in Rome, the “Pascale” Institute in Naples and the “San Pio” Hospital in Benevento and which now has also wanted to donate the paintings to the Public Prosecutor’s Office. Works specially designed and created.

“An open wound, like Moscati’s definition: living is mission, duty and pain. A mission that must be accepted with the light that comes from above “commented the master Juvenal who remarked:” Where the Cross is there is Jesus. Pain and suffering must be transformed into something positive “concluded Juvenal who under the collection of works then addressed a message: “True freedom always needs to be oriented towards the good. The laws should serve this purpose ”.

The phases in which Giovenale’s artistic evolution developed start from a first period in which his painting was essentially monochromatic and was based on an iconography that represented the rural world from which he drew inspiration. Subsequently the art of Juvenal passed from a phase that we could define as more dreamlike and mystical to then arrive at a minimal geometrism that has been enriched with elements that, albeit unconsciously, have drawn on a “high” tradition of the art of Twentieth century, such as the cuts, patches and overlapping of fabrics reminiscent of Fontana and Burri.

According to the art critic, Paolo Balmas, the key to interpreting the artist’s work lies “in the ideal of beauty that Giovenale places at the center of his work. A beauty that, in some way, could also simply be that of the world in which we find ourselves living, of the environment in which each of us keeps our loved ones and practices his profession. … .. To talk to us about this type of beauty to which everyone can, in some way reconnect, Giovenale has certainly, … refined his own language, taking into account the achievements of the artists who in our age are most interested in the relationship between aesthetics and spirituality, but he did it with the modesty of those who work alongside those who have already started the journey, of those who want to do everything except add analysis to analysis, rules to rules, method to method, to the greater glory of their ego.

If the beauty of creation is a gift from God to men, the meaning of its destruction or impairment must also be read in relation to this nature of gift, or rather of witness to the love of the creator for his creatures. Here then is that the events or accidents that disfigure the image of our world will also have shape in the dimension of painting and that form can only tell us about our life and the way in which each one has faced his own personal ordeal according to his abilities and resources, but also in relation to one’s own trust in divine love, a trust which is nothing other than faith itself considered in this respect ”.