Venetian painter Pino Zennaro’s spirit works in conjunction with his hand. Through exquisite detail, his paintings invite us to explore aspects of our lives of which we may have have had inklings, but never investigated. The brilliantly colored abstract, “The First Day”, is an example. The painting encourages us to take part in the wonder of a beginning, a place of bright complexity, a myriad of colored forms where we lose ourselves in awe, just as one would on a true first day. As Franco Vian has said, elements of Kandinsky, Capogrossi, and Vorticism Inglese may be glimpsed in Zennaro’s work, but they are not the sum of, nor do they define his unique and generous gift. More than a statement, Zennaro’s paintings solicit our company; they encourage our presence. The stark and pure “Mandala Yamantaka” summons us to the spiritual. The “Ideogrammi” bring us messages from another world, as if we stood before an ancient wall of symbols and, suddenly, could read them. Then we turn to “Metropoli” and are whisked back to the contemporary world, swept with Zennaro by the rush of the city along the streets of New York or London. The canvas itself appears to stream by. Zennaro’s craftsmanship, his style, his distinctive use of color, and his eclectic vision carry us to places we’ve never been. One can’t help but thank him — and wait impatiently for the next painting.  See www.pinozennarocicogna.com