Papers
of Inner Silence
The story of images
that Paolo Gubinelli dedicates to the poetic thought of colour possesses
the coherence of a spontaneous dream, the natural sentiment of actually
painting that is revealed in the profound adhesion to the values of sign
and light. Paper is the raw
material that expresses this orientation calibrated to different visual
effects; white is the mood that gives rise to the adventure of colours; it
is the suspended air that envelops them and is enveloped by the spatial
rhythm of signs that bring out the incidence of light and the transparency
of pictorial matter.
Through the knowledge of the manual
occurrence, Gubinelli leads the viewer to the threshold of images that
have the amazement of archaic trails, the vibration of primary sounds, the
changing movement of things that appear and vanish almost in the same
instant.
The incised sign, fleeting line, instable
space and allusive resonance of colour form an alphabet that, sheet after
sheet, renews the dialectic between rigour and imagination, where
Gubinelli’s painting has always found its expressive reasons.
It is never a question of separating
analytical reason from the emotion of gesture, the compositional measure
from the action of the hand that invents countless occurrences on paper: states of impalpable but physical
light, grooves made quickly but after lengthy meditation, materials that
are fluid and wandering but have a definite spatial profile.
It is instead a matter of bearing these two
apparently contradictory aspects in mind, soliciting from their encounter,
a sense of space in constant ferment, troubled by the informal tensions of
colour that are commensurate to the unforeseeable automatisms of sign.
The persistence of this creative attitude
makes it possible to observe Gubinelli’s journey, at least from the
seventies till today, as an infinite process of intuitive and instinctive
signs, overlapping and interlocked, often cut or simply treated like
threads at large.
Signs accompanied by folds, tears and
chromatic offshoots to the point of forming a code brimming with lyrical
poetic resonance, but this reference to poetry does not seek to indicate
precise literary ties, specific citations that enter the universe of
painting.
It is no coincidence that a mechanical
relation between painting and poetry does not exist; there is instead a
profound need to reveal a state of suspension of language as tool used to
free a vision that is not circumscribed to the real, but open to its
transfiguration. Gubinelli’s
signs are never without this outburst towards a possible elsewhere; they
tend towards the essential purity of colour-light; they are profoundly
expressive with the surrounding space and their every fissure provokes
disquiet and grazes the balance of reason.
A prolonged sentiment of time traverses these
papers of interior silence, pages grazed by the slightest scratches and
light, steaming colour that reveal boundless spaces, as though each time
the limited size of the sheet could embody the sense of the impenetrable.
Every stir of colour is solicited by the
sensitivity with which the artist breaks the vision into molecules of
mental energy that gushes forth flashes and vibrations of the creative
thought that dilate the confines of perception, almost disorienting the
viewer.
Every sign is calculated in the positive
encounter with the tactile quality of paper, oscillates in white as the
memory of a lost course, suspended in the void of an unknown cosmos,
totally immersed in the becoming of light which is – for Gubinelli –
action and ecstasy, inseparable extremes of his pictorial imagination.
Claudio
Cerritelli
Milan – October 2002
Ed. Biblioteca Nazionale Firenze, 2003
Unpublished poems by Mario Luzi
an other: put here.. 1 2 3
Paolo.Gubinelli@inso.it
giosue@giosuemarongiu.it
www.giosuemarongiu.it
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2000 Giosue' Marongiu . E' vietata la riproduzione anche parziale.
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