Ozmo knows how to immerse his hands into the warm matrix of history, extracting both myths and suggestions, rebuilding archaic figures and scenes in his own way, without excluding the pop or nostalgia, solemnity, and lightness.
Looking at the great narrative, the gods, the heroes, the breakthroughs, the simulacrum, the past rituals, and the current dramas.
Perfect profile for the Tracce di memoria project, proposed and created by creative agency The Uncommon Factory, led to the Rieti citizens, located in the historical region of Sabina, and financed through the grants of Lazio region, co-financed with European funds for its development.
The curator, Annalisa Ferraro, wanted him to be part of the team of invited artists and engage with the artistic and historic memories of the area. In that case, the feat has been empowered, in some ways, atypical.
In Rieti, Ozmo has painted his first mural, never done in Italia over the front of a courthouse.
It’s called, “Il suono delle trombe” and its shown today on Piazza Bachelet, with all the severe monumentality, still dynamic, of the interplay between body and draperies.
A narrative spread out over the linear architecture of the twentieth-century courthouse, in a solemn modulation of whites, grays, and sepia shades, skillfully non-invasive, without harsh contrasts or arrogance.
The figurative theme is linked with the emptiness of the square and becomes a cinematographic shot, historic page, iconographic adventure, theater of shadows, and evocation.
The subject is a free interpretation of two tangled treasures: Il Giudizio Universale, a fresco by the Torresani brothers, jewels from Oratorio of San Pietro Martire, and the 16th-century Ratto delle Sabine by Giambologna, a sculpture housed in the Lanzi Loggia, located at Piazza della Signoria, in Florence, perhaps the most recognized interpretation of a mythic affair, which belongs to the local tradition.