Gubinelli’s ceramic mark
It is stated that marks have come before writing and, since that time, communication was only based on the oral tradition. Marks revenge their own independent concept, its expressive autonomy , and, from then on, the mark is not only depending on words but it embodies each material which holds it, taking a shape with its stroke.
Gubinelli’s mark is an abstract mark which appears, by its nature, prone to such a spreading out since his studies of architecture. And really, starting from that time, it’s easy to understand and appreciate the special concept of his mark on the sheet of paper: the transparencies and the opacities, from the brightness of the whites to the innumerable shades of the dull colours winding themselves as in “telero paintings” *.
The mark, as a glimmer of light, sticks on the fragile papery stand, sometimes it engraves the support, sometimes it juts out of the background and sometimes it is wide and rich of colours in its faint and trimmed edges.
Now, this mark thanks to the power of the fire, takes the consistency of material and colour in pottery.
Gubinelli’s mark is free and mild, dancing, waving and tossing but steady , firm and concrete melting poetry with the type of materials.
The idea of composition which was born as a stroke on a sheet of paper, enlarges and forms itself on a pottery work by the techniques and feasible steps which from a mould in plaster transform themselves in the final work after baking the ceramics.
The concept of idea changes into material and its anicronic sense assumes thickness and strength.
Gubinelli’s mark gives the poet’s neat and white paper the function to mould the space by various woven webs of colour.
On the pottery, the power of the fire poses and transfers the same idea of imagination and the same light mobility of mark and colour, but the nature of the material reveals its own characteritics and physical peculiarities. The provoking running and fluid play of marks and colours on paper, becomes project, matrix and its variations. By different times of baking the moulds, the mark and colour become more clear and neat thanks to the brightness of the ceramic.
A line and a chromatic lying lye on “ rilievi” on ceramic in a stronger and thick way comparing “ the scretches on paper”.
Luigi Paolo Finizio
PAOLO GUBINELLI'S DESCRITION ART WORK...
CRITICAL ANTHOLOGIC...
PAOLO GUBINELLI BIOGRAPHY...
Visit the Paolo Gubinelli's space in "Artists in focus" of the BauForm. Translation by Alessandra Pitzianti
