Absorb the impact of his paintings, and instantly you are moved to hear some accompanying musical score, which cushions the picture far more suitably than any frame could ever accomplish. At the canvas, each brush stroke is kin to the notes he tenders at the guitar – “…empty space is everything; silence is the very canvas through which we might hear an angel’s trumpet or the harps-of-heaven or muses calling from within the depths of the heart …”
This astute grasp of expressed-duality is the quintessence of Razzauti’s approach to the art of the painting as well as to the art of musical composition… and, I would venture to guess, to the art of life itself. We all must travel from that which we encounter to that which we understand, and the road traversed is not exactly paved-in-petals nor does it often incline or decline at a gentle slope – nothing of value is easily accomplished nor free from the self-imposed debt of study and effort. Inspiration does not just suddenly appear undeservedly, nor will it gradually emerge from some veiled haze as a single unattached event, but, more often than not, it explodes and swirls out in an unexpected, though integral, expansive gestalt of empathy and insight… leaving a kind of mixed-blend of familiarity and imagination in its wake.
Talent is like that. It is not unilateral in nature. It is a multi-dimensional matrix of unyielding horizons, immediate in its potential and fully accessible at the soul, open to those allowing its presence to flourish. Unsurprisingly, many artists, in effect, achieve better than a mere adequate proficiency in balancing select areas of interest, beyond that for which they might best be acknowledged or acclaimed (actor/director, sculptor/architect, playwright/screen-writer, poet/songsmith etc.) So it is with Andrea, he is both an acknowledged painter and acclaimed composer… but primarily he is the consummate artist –
Andrea’s father (gifted in his own right) presented him with his first guitar when he was only 9 years old; by 11, he was playing in a local band and in his early teens performing professionally. Opening for many well-known popular bands, he received high-praise and an exalted notoriety for a variety of musical styles, ranging from traditional classical Italian to R&B and pop/rock. His fans followed him to many of the most prominent Italian (and European) venues. While continuing as a featured recording artist, it was inevitable that he would ultimately turn to jazz. He studied such masters as Villalobos, Wes Montgomery, Toninho Horta and George Benson. In the 80’s his artistic interests and musical abilities reached an even greater level of sophistication. Recognizing an indefinable affinity between the classical and jazz guitar, he successfully connected the two. Andrea’s passion and fervor translated into an even deeper dedication to his musical compositions. In the 90’s he composed, arranged and produced his first release: Blu Oltremare, a captivatingly seamless blend of classic, Brazilian and jazz.
Just as his music supposes beauty, so too his paintings present beautiful suppositions… and whether together or separate they both constitute compositions of truth. His projects are visionary and uniquely designed to facilitate this embrace. Believing that when you truly feel the music, you not only listen with your ears but also with your eyes… to see into a thing so deeply that you can hear it breathe and touch life… Andrea is a translator of the senses.