“Raw colour” is the title of Giogio Vicentini’s most recent work. We’re faced with a new “pictorial cycle” that has colour as its protagonist and which reveals the analytical root of the painting of the artist and his expressive method. The analytical characteristic of Vicentini’s painting consists in the habit of concentrating aesthetic research into minimal elements that are as pure as possible, organizing them into a simple visual syntax, where each variation and deviation takes on strength and importance. The visual thought of the artist emerges and develops from a personal pictorial method that has been honed over time. Vicentini withholds and cages colour between two transparent surfaces: the pigment is thus manipulated indirectly, and with the pressure from a spatula, the artist moulds its texture and spread, led by an instinctive knowledge that he seems to already know as he discovers it. The colour’s surface is then fragmented through cutting and recomposing the shapes on the canvass. From the lyrical and planned gesture of the artist, the infinite and absolute space of the work comes alive; in this dimension, the synthetic and cooled-down fragment of colour appears to move in a continuous development. However, I wouldn’t want to concentrate too much on colour, it’s evident that painting is always based on this; and I don’t want to discuss light, which is colour in itself. I want to take away the structures, albeit real ones, of a reading of Giorgio’s work connected to non-objective, abstract and monochrome painting so to speak, whose reasoning is renowned. On the other hand, I would like to read Vicentini’s work as a reflection on, and the result of, research into the process of action, moving it closer to the field of ethics, and more precisely, to that of the ethics of aesthetics. Vicentini’s work is proof of an aesthetic attitude where the sensual gaze reaps and accentuates general harmony; at the same time, the same gaze is acute and analytical, aware of how everything is the configuration and combination of moving parts. This aesthetic attitude doesn’t seem to contradict itself, not even in the daily movements of the artist, on the contrary, perhaps this is where it finds part of its reason, in a big family where relationships become flowing energy that returns, and is reconfigured in different experiences. When I met him in the studio for the first time, Vicentini talked about his children with the same transparency and necessity that he dedicates to his work, and I immediately perceived how his artistic research is encompassed into a comprehensive horizon within which the artist directs his dynamic gaze, always directed to broadening his vision. Without fear, inflexibility or suspicion, without a final definition of what colour, space, or painting is, even in a more general sense, the artist seems to turn to life as he does to artistic research, putting himself in the centre as a participating co-creator, with constant planning, without passively being subjected to anything, despite being moved by chance. Vicentini’s aesthetic dimension is not a simple result of pictorial actions, but rather is generated by an ethical sphere (or perhaps the two combine reciprocally), which is extended to his entire daily universe, where he finds expression, a pulsating and generative energy that defines - without making a finalised definition - the personality of the artist as his work.
The comprehensive horizon of Giorgio
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