Like all the manifestations of art, ceramic art is also a laboratory of infinite possibilities. A laboratory in which the same simple basic ingredients can be assembled and recomposed into a new whole, according to the skill and creativity of the artist. Looking and touching the objects on Frederick II of Swabia created by Pinto it is possible to experience the pleasure that the search for new forms and new applications can bring, when they are born from an authentic and tenacious creative will, capable of putting oneself to the test on a theme, inventing stories that become artistic material.
The spectator lives the pleasure of confrontation with the creative capacity, therefore; and immediately after the pleasure of beauty that comes from forms, colors, narrative and technical suggestions; and then again the pleasure of being here, in the District of Ceramics of Grottaglie, having the intimate perception that so much can be done by the heirs of an ancient tradition.
I do not know if he had the intention, but Pinto showed with his work how it is possible: starting from a suggestion, in this case the charm of a character, or of an era; to travel in history, that is to study and understand it; transforming suggestion and knowledge into stories told by the protagonists, always realized within a screenplay and a dialogue; create figures of great expressiveness and originality, thanks to an extraordinary technical ability sedimented by years of experience and teaching, but evidently emphasized by the ideas and the path that he himself was gradually building.
The experience of Pinto with the theme of Emperor Frederick is therefore not only something of absolute artistic importance but is also a model of research, a proof of the infinite possibilities of artistic discourse through ancient ceramic art.