Di Quinzio infuses his interest in human figures and the use of symbolic structures to create a painted pictorial bridge that is imbued in his subconscious world and the physical environment that surrounds him. The evolution of his artwork integrates a constant search for portrayals of a perceived inward reality that conjures up a wide mosaic of ostensible visual subjects. Eclectic emblems and primordial landscapes are in essence the amalgam of the seen and the unseen that marry into a surrealistic composition, which in turn provokes the viewers' interest and curiosity, thus establishing an intimate relationship between the viewer and the work.
Since ancient times, men have strived to entertain the public. Traces of these dedicated and skilled people date back to Knossos where a fresco in a cave depicts an acrobat jumping over a bull. Histrions, trouvères, joglars are among the earliest names for these travelling social, performance artists – acrobats, jugglers, musicians, knife throwers, tarot card readers – unclassifiable, unrelated people spreading news and amassing the population around them. Eventually the world of traveling artists splits in two; those specialized in written culture and those in oral culture. The division established the mountebank who, growing more numerous, placed themselves at the entrance of the theaters and attracted the audience by pleasing a diversity of tastes. Saltimbanques et comédien, a circus is born.
Like the saltimbanques, Di Quinzio is a generator of ordered disorder. He creates his own narratives with both a resemblance to the real world and with disruptions to our preconceived ideas. Painting in his mind first, Di Quinzio records his observations of the outside world before he interprets them into his own contemporary narrative. His resulting paintings are best described as “Magical (Sur)realism” symbolically rich pictorial narratives caught somewhere between our subconscious worlds and our shared physical environments.
Self-taught artist Salvador Di Quinzio was born in Maracay Venezuela. The only boy in a household of Venezuelan – Italian women, Di Quinzio occupied his time by creating his own vibrant, handmade toys and entertaining family and friends. As an engineer with a successful corporate career, he has lived and worked in six different countries in Europe and South America. He tried his hand at painting while looking for a new way to express his creativity. Since then, he has exhibited his artwork regularly in Philadelphia, New York, and the Netherlands. Notably, he was the recipient of the Maybelle Longstreet Prize awarded by juror Stephen Talasnik through exhibition at the Woodmere Museum in Philadelphia and a featured artist in Immanence: The Journal of Applied Mythology, Legend, and Folktale where his painting “Leda and Her Seahorse” was selected for the cover of Vol. 2 No. 2 Spring/Summer 2018. His paintings are held in private collections in the United States, Germany, the Netherlands, and Venezuela.