Paolo Rossetto's painting style strongly insists on the basis of drawing. Chiselled works with a wealth of details dig deep into the mystery of the soul. His symbolist surrealism, which looks into the tradition of painting, looking for the secret of human identity. Quotes from the past are altered to imaginative solutions of anthropomorphic forms, images of faces and bodies take the form of plant elements. The living being is therefore reflected in an inanimate world only in appearance. What the artist appears to convey is that life exists even in the smallest particle of matter.

Uno sguardo seducente annuncia Eva della contemporaneità contornata da un arido ramoscello, inquieto offerente della biblica mela.

The relationship between man and nature is a thin and sublime border. They belong to each other, even if they are different in shape. Moreover, while the first is limited and abusive the second one is immense and generous.
In the paintings of Paolo Rossetto they become one, inseparable and suggestive.
This idea can only take its origin from Ovid's myth of Daphne transformed into a laurel tree to escape the courtship of the god Apollo, but the tension is completely new. "In the moistness of a wild greeting/ feet becoming twisted briars / she feels and from them a trunk rising/ which her legs on to the thighs / includes and of skin makes peel/ and where the flower of virginity rests/ an inviolable knot ties " While these verses from Gabriele D'Annunzio, make clear all the wonder and terror of the nymph who observes the metamorphosis of her own body, the transformation is serene, accepted, accomplished in the works of the painter.
Paolo Rossetto was born in Bolzano in 1968, but his life has led him to explore many places, relish different cultures and, above all, to observe and study the works of fascinating artists. His desire to become an artist was born spying on the movements of those talented. So, he left his accountancy studies, enrolled in the Art Institute of Trento and was carried away by love for drawing and painting.
After a debut with landscapes and still lifes, Rossetto started to work on the profiles of human beings, especially women, until he magically combined these genres.
This artist of figurative origins has reached his maturity in recent years, and followed the trail of René Magritte and Paul Delvaux till he reache the enchanted worlds of surrealism.
In his artistic research, Rossetto starts from the undeniable premise that nature generates life like a woman's body, with the aim of discovering its secret. "A long and heartfelt dialogue between man and nature," he says.
He presents a seamless kaleidoscope of bodies, but not only female ones, made of flesh and bark, of faces, arms, and legs, and also logs, branches and leaves. The whole is harmonious and refined. He’s never satiated with in order knowledge to feed his fantastic projections of moods and existential conditions, and unravels between ancient and modern techniques: he uses the tempera, oils, acrylics, charcoal, and even pigment powders, following the same procedure used by the artists of the fourteenth century.
He outlines fusions of dreams and realities: an infant is nursed by a tree with shapes that remind us of a female breast; Mother Nature has a beautiful and delicate profile of a woman but a spiral trunk springs from her hair aside; a group of women has legs, arms, hands and hair whose extensions are endless branches.

We must therefore say that the painting of Paul Rossetto very interesting for the use of the symbol that is remembered that, as the arrow, and object, material element, person, animal, depictions that represent another thing, for the most part, an entity, an abstract value. Abstract value that is obviously an ethical value, that ethical-political because, as Aristotle says since the first Page Nicomachean ethics, ethics and politics are the same thing. Which shows that the work of the painter, sculptor, the writer, the musician´s work is ethical and aesthetic activity and not purely decorative purposes merchant, ie production Items to be sold at the end of their livelihood and / or enrichment.
This number is so inextricably linked to "representation of the existential condition of man (as rightly said Rossetto) deeply understood for identification, in its relationship with nature that Worringer second, being the historical nature can not be the kind = company, so the symbolic nature of company.
Company that today many people have reasonable reasons to consider not mother but his stepmother man is "political animal", as Aristotle teaches, animal namely, that man is born and lives as a historically determined society historically date, so "animal culture", as they say the greatest philosophers of the nineteenth century. Thus the "box" mentioned Lipstick between man and nature, is in fact dialogue between man and man, between man and society.
Dialogue that can not be ethical-political and not just political. Necessarily historical-critical.
In conclusion we must say that Lipstick is one of the rare artists today who knew just take the hard road that, in the rejection of the art of fashion by hetero-directed 'amalgam bureaucracy-academy-prevailing market since 1948 or so.
Therefore the rejection of the conviction without the language common to all, which necessarily uses objects, namely the figure for language, as stated Gian Battista Vico, to make up the speech and then the communication message is based on the necessary self-knowledge and therefore the others, on the necessary Digging in themselves, as taught by Ungaretti, excavation sine die, to highlight the deep feelings that determine personality.

Nature and colour are the scenario of repeated metamorphoses caught at varying moments of their changing process. Paolo Rossetto’s canvas are populated by women with fascinating features; we sometimes do not decipher the meaning of their changing: from woman to tree or from tree to woman; they are caught in an indeterminate moment of transformation.
…These women become arcane creatures, yet they are alive and real; contemporary vestals of a meeting of dream and imagination. Paolo Rossetto´s paintings experience contemporaneity not as current events but rather as an unchanging time whose perpetual succession of mutation and illusiveness of forms which are subjected to an almost organic continuity of continuous changes, binds humankind to nature.
…His imagination is as light and evasive as a dream, at times dense and sensual, a dream which insists on scenes contemplated in their own sumptuous bloom or immersed in a fairy-tale-like atmosphere.
…How can one fail to think of Ovid’s "Metamorphoses", which is the very basis of all the transfigured imagination that followed, from Dante to D´Annunzio with his Alcyone which seems to become a plant amongst plants. Not to mention the surrealists: Magritte and Delvaux, to whom Rossetto explicitly refers on the image level.
Surrealism is evoked by the mysterious contradiction between the fantastic dominance of unity and representative realism, a possession of technique without manners, one which is free from any obligation to an interpretation tied only to the form and one which portrays images which have the indeterminate consistency of dreams. His paintings sometimes take their inspiration from biblical themes (“Before the Fall” – “Adam and Eve”), yet the vegetal element never fails to show a selective and indestructible harmony between nature and its forms.

Erotic Surrealism.
The artist from Bolzano, Paolo Rossetto, produces paintings about love and life. Paolo Rossetto expresses the surreal, the subconscious and dreams. He applies new techniques just as the surrealists were well-known to have done. In the centre of his paintings is the tree, which for the artist is the tree of life that portrays the expression of life and death, of birth and degeneration, of guilt and expiation, of Eros and Thanatos, and the unsinful garden of Eden.There is always a woman evolving from the tree of life; the woman who gives birth and protects life, but who is also seductive, playful and sensual.
Like Eve who ate the apple, this can signify either sin or liberation.In his literary manifesto, Andrè Breton described surrealism, dream and the visions of madness as a valid form of reality, as if they are normal thoughts and feelings controlled by intellect.
Yet Paolo Rossetto doesn’t break down the contrast between dream and reality. Instead, in his works he extends the emotionality and expressiveness. Perspective reasoning dissolves in Rossetto’s paintings. In a magical way the surreal subject branches off, taking on its own significance.
The real outside world is taken over by the reality of the soul.

We always used to be divided into three kingdoms nature animal-vegetable and mineral.
Lipstick destroys boundaries and barriers between the realms for introduce only a universe of which we are part.

Followed closely by teachers and Julian Brancaleoni Kurt Mitterdorfer, Paolo Rossetto implement a personal inner quest deep. The nature, the woods are his source of inspiration, but are the trees of the vital symbol of his land bearing their body shapes that represent periods and the essential moments of life...

In a new style floral the subject of his compositions is the tree, his line is the cornet.
The tree represents the symbolic objects, his being a cross, a bridge between heaven and earth. As the tensions of history and meaningful life similarities with the human being...

Common thread has always been in evidence, and the tree:
essence wooden strips naked in her joints and its development, from the root to trunk from the trunk to the branches, the branches of the branches.
Tree plant and anthropomorphic tree, but also highly symbolic element in its twists crossing, now starring, now with a balanced option, the entire painting.