52

Carlo Belloli, 1992

paolo gubinelli: chromotensions in signs

several references to wols and michaux appear in gubinelli's conglomerates of signs where colour fades and dematerialises in boreal evanescences.

a painter who comes from experiences in cartography, revealed by the folding and refolding of monochromatic surfaces.

like tangram's occidentalised, those sheets varyingly directed by gubinelli's folds proposed linear games of disconcerting elementariness, of monastic propension to chromatic unity.

then colour gave way to unique signs, intervening as a narrating visual necessity

today, gubinelli extols polychromous lights set ablaze by orphic transparences, enlivened by galactic suffusions, filtered by laminar alabasters.

gubinelli now invites the viewer to the confines of the amazing, to the oasis of dreams, to the rustling of ultrasound.

mirage of colour, rather than visual incidence of structured polychromes.

the echo of colour, instead of the soothing voice of perceptively graduated and unobjective chrome-structures.

the imponderable rapture of chromatic development transfused by gubinelli's interstellar spaces, takes the place of structured colour logic, annuls the algebra of programmed perceptiveness, until it breaks up into a permanent conflictuality of signs.

colour is lacerated, lines dissolve, points lose balance, the surface definition.

into this polychromatic game of fluidity and filiform, linear transparences, gubinelli inserts spontaneous frottages of sinuous intricacies into a defeated chaos, into a limitless spatiality.

"... je suis si extenué d'art...," sang jules laforgue in 1887, while today paolo gubinelli feels it necessary to reverify the spectacularity of the expressive gesture as free art, liberated from any attempt to constrict colour, released of all combinatorial formulas.

an invitation to perceive attraction for that which creates tension in the uninterrupted explosive signs the painter employs to orient colour into rarefied constellations.

thus graffiti where automatism resolves in a perfect linear musicality governed by a stroke of elastic intermittence.

already in the sixties, camille bryer and alcopley proposed automatically drawn meandering itineraries of lines, while gubinelli's eurhythmic acts invites us to unintentional gestures, to meditated caesura.

here the lines mysteriously tremble, offering the right measure of mediterranean dawns and sunsets.

almost a euphoria of signs transmitted to colour to cleanse it of all weight, dematerialising its perceptiveness and activating its transparences.

freedom for gubinelli has become destiny in edifying atolls charged with unexhausted natural forces.

in the context of these atmospheres fraught with disturbed fragmentariness, gubinelli's linear intersections are manifested in compressed and reductive optical tempos.

successive schisms of rhythmic conflictuality propose light with graduated intermittences.

several works by this unique painter show the fable-like colours of dawn as epigraphic backdrop of possessed stories, unexpectable lacerations of the chromatic association.

with a well-governed force of propulsion, gubinelli performs constant variations of emotional intensity in gesture.

thus, in silence, gubinelli sets out the course of a line or the colour of a space in a newly created heavenly firmament.

along these oneiric routes extends gubinelli's maps of the informal which he intends as backdrop to a whispered fragility.

the lines of the magical itinerary suggested by the painter swim in transparences of liquid colour, vibrating in crystallised spatial suspension.

in this system of expansive signs, gubinelli creates a spatial arrangement of colour hierarchical unity, where generative and transformation rules seem annulled by the executive automatism of the proposed visual event.

a solar vibration of extreme optic effect suffuses gubinelli's works with fluid linear rapidity.

like unearthly annotations, the meandering routes of the painter, active in florence, also evoke andré masson of his asiatic period, towards the middle of the fifties.

a chrom-plastic hand aspiring to graphic schematisation in a spirituality that spreads through space, arraying its linear trajectories to duel with light animated with prolonged and explosive tensions.

paolo gubinelli identifies fragmented surfaces where, at times, the light of a watery colour reverberates ineffably over filiform signs.

much remains to be said about this painter, about his proposal of structural freedom in gestual signs, about chromatic signals dichotomised in saturating perceptive tempos.

paolo gubinelli's work should be seen by the supporters of lyrical figuration, cosmography and the stenographic annotation of the shattered image.

the untravelled routes of gubinelli's itineraries invite one to undertake a voyage through the lengths of this dying century.

the third millennium will pertinently receive messages like those gubinelli transmits today.

we await this verification, affirming its expressive worth, rhythmic-formal anticipation, absolute chrome-sign freedom, underlying perceptive values.

gubinelli tomorrow.

Paolo.Gubinelli@inso.it

giosue@giosuemarongiu.it

www.giosuemarongiu.it

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