Martin Lopez Lastra, Contrisciani and the Art of Fine Re-creation, La Nacion, Buenos Aires, p.8, September 9, 1992.

A subtle association with the pleasure of the re-creation of a reality refracted through a selective and impulsive prism provokes, in the work of Pablo Contrisciani, the perception of a welcome transgression in his pictorial composition.

This young artist is f feverishly obedient to his intuition and, thus, instantly sketches any momentary, daily situation which appeals to him, thus lending to the f finished oils or acrylics a certain similarity to a chapter of a secret autobiography. Tonality is subordinated to the f force of pure, saturated color, and chromatic aggression, denoted in a contrasting use of harmoniously combined primary and secondary colors results in a dose of homogenous luminosity which traps the viewer and makes him an accomplice in the painter,s enjoyment of even the most insignificant detail of daily life.

Deliberate Rhythm
A deliberate rhythm, acquired through the distribution of objects and plots, does away with the idea of a field of focus: Contrisciani declares that "each fragment of the painting is a painting in itself if it is removed from its pictorial context."

Perhaps a distracted art-lover would spontaneously relate Contrisciani's style with pure fauvism, due to the painter's use of color at its most savage and showy. He himself, however, also accepts the qualifications of "sort of impressionist" and "follower of the figurative movement."

Contrisciani endeavors to give life to moments or situations, lived or perhaps only imagined-a scene in a kitchen, a conversation between friends, a beloved woman, a landscape, or even a photograph which he happened to see in a newspaper."

An exact definition of his work is reflected in the words of professor Ricardo Alvarez Martin: 'His color announces the presence of pregnant form, 'of detail which brings the image to life, and which maintains it in its integrity throughout the material multiplicity of the work.'