Besides this he is an aesthete: unthinkable to imagine him at the presses of an industrial rhythm with the fluorescent varnishes, the plastic surfaces, that are dear to those who would rather be confronted with the harsh vulgarity of the contemporary. He has been in fact brought up with beautiful taste. Although for a long time circumstance and choices have lead him to a life-style much more strict and introspective almost minimalist. Also, as a result of the encounter with the oriental thought- philosophy, this partiality for the beautiful, this innate inclination for the "precious", has remained within, conferring to his paintings that element that are more than the contemporary: an ancient majestic seduction.

The mould for the painting of Aldo Rota can certainly be found in the art of the Fifty's: American Abstract Expressionism (undoubtedly his white paintings, crossed by immense and powerful black waves can only make you think of Franz Kline), European informal. Once again, but, a primitive informal that sometimes leads back even behind until the luminous warble of the last of the Nymphs nourished in the course of his work. There are numerous works in this show that are more online with its previous research; this is evident. However, after one new, radical change of his life - a deep pause, that took him away from the ancient study- house near the Certosa of Pavia- and has carried him to another beautiful rural place, -although at the doors of Milan, - a transformation, but the background of his life and work and therefore his inner self. He has continued to be creative after this change.

I would say, in the last months Rota has taken on a new enterprise and developed his scope. In his paintings he has transcribed, coded, a new existential metamorphosis. He has given to his intensively worked canvases, although always created in a hurry, without designs or sketches a new powerful energy. In some of his work he has overlapped the canvases and pasted in, wrinkled net pieces of pigments or plaster and painting of hardened canvases fragments, making a basso-relieve. In others, he has instead interfered with the "vibrant" matter that generates its own shapes, new and intense signs, circles, now sinuous, wrapped closely in itself, in a symbol of the infinite and charged with vivid and intense colours.

In other paintings they are instead ghost appearances, figures, immense recognizable, now immovable like antique idols of fecundity, now dancing like fire tongues, while the canvass has been made more and more precious, dense of purple, of amethyst, red incandescent, dazzling blue cobalt, emerald greens. With One exception: the series of white and black, that in their mono chromatic absoluteness, crossed as if they are from a fine driven webbing signs, show a whole unexpected sumptuousness.