Crossing worlds and languages while maintaining one’s identity is more than luck, it is a privilege. The privilege of those who have known how to recognize their roots and keep themselves tied to them to the point of not being afraid of contamination. Jo Endoro is a singular case, indeed unique, in the contemporary art scene: he plays with pop but is not pop, he uses different materials (from Dominican fishermen’s nets to composites, to wooden panels used in construction), but he is not in these materials; he frequents the world of contemporary art, but he really is not contemporary; he is proudly linked to Italy but is not limited to the artistic, cultural, anthropological Italian panorama. Jo Endoro, sculptor, experimental painter is an artist of the world, the “next big thing” of international sculpture.
Dazzled by the forms of Canova in his youth, he admires his works, is passionate about his biography and recognizes in the classical appeal the cultural and biographical motivation of his art. He is passionate about sculpture, and fully enters the difficult and demanding art of giving shape to marble. The material is unforgiving, the result is always in the balance. The purpose is always in the inexhaustible passion for shapes “Since my childhood, I have always had a passion for shapes: a watch, a car, the peak of a mountain” comments Endoro. This passion is also the first trait d’union with the Italian classical and neoclassical tradition. Jo Endoro understands that it is a specifically Italian tradition with much more to say, well beyond modernity. All of his work, including his work as a painter, is a continuous confrontation with forms, to the point that he has been defined as Canova’s heir. Revisited classic portraits, sculptures of leaders and gods, portraits of living people “narrated” from the imaginative point of view, always referring to the classical methods. And the materials: above all, the marble of the Apuan Alps (from which the notoriuos Carrara marble comes from). This is his Italian root.
Then there is a root that comes from the Dominican Republic, where Endoro has been spending part of his time for years. Here there is life, the vital movement that has no restraints in launching itself into happening, the sense of hospitality, poor materials. Here Endoro develops the material “voracity”, the idea of ??using everything to give shape to his art. The idea that any material accepts and favors the free expression of the artist, as it accepts and favors the free expression of life.
Finally, the United States, which Endoro has been visiting for some time. Here is where he finds his Pop inspiration. The “wharolian” idea that we are immersed in a “serial” world and that the task of art is to critically exhibit the social and existential conditions of all of us. And this is the pop or street art vein of Jo Endoro’s art. In his series of works dedicated to street art there is a brilliant foreshadowing of paint on monuments, which has recently become topical. Castings of colors on classic shapes. Only the result is different. According to current events, the paint on the statues comes from a civil protest movement. In Jo Endoro’s works the paint flows testify that the beauty still resists and is accentuated by the colors that run over it. By contrast, it highlights details (curls, noses, eyes) which are thus even more evident. And this is further evidence that any contamination is possible if there is a strong cultural root, and that, starting from the forms of classicism, you can really go anywhere.