ENRICO CRISPOLTI, 1989

         I met Paolo Gubinelli more than ten years ago in Gubbio and recall very well how I was struck by his cardboard, rigorously crossed by very thin structural cuts, with an effect of almost white on white, of indubitable fascination for the lyrical, politely severe tension that seemed to pervade them.  And which I feel represented an introspective analytical dimension, like directing worldly phenomenology within an anxiously absolute equilibrium, of intimate contemplation.  Very complex structures, though not mysterious or ambiguous in their sincerity.

         Gubinelli's is an internal matter, even when it seemed as then to exhibit an objective structural rigour.  Not that this rigour came to lack in successive works.  But certain in its original, and in a certain manner almost demonstrative clarity, it was brought into question for a complexity which I would say more adherent to the terms of an evocative interior dictate.  It occurred particularly at the beginning of the Eighties, working on transparent paper with a very attenuated intervention of colour.

         In reality, Gubinelli still uses the cut sign, but his plots no longer emerge absolute in their subtle sharpness on white, uniform backgrounds, but in the context of a precious chromatism varying from situation to situation.  On the other hand, those cuts no longer follow plans of elementary geometry, between parallelisms and orthogonalities of straight lines meeting, but instead fluctuate as though pushed by soft movements or they entangle as from a single origin, entwining, varying in total freedom.  It is my opinion that Gubinelli's creative world has reached a further degree of interiorisation; or better still, perhaps he has made interior probing his field of operation.  There derives an evident condition of rarefied anxious lyricism, one vaguely shadowy, where the painter's emotivity (and what a painter) is diffused and, in a certain manner, hidden, in an evocative flowing which escapes all measure of confession.  The most refined and unique results, almost private, almost fearful of losing, in a stronger contact, the very sense of their intimacy.

         A wandering of the imagination within a metaphoric evocation, aimed at remaining private, though the features that distinguish it could not be but connected to the cultural seed of a typically central-Italian mould.

 

Antologica, Ed. A.I.C.S., Palazzo dei Consoli, City of Gubbio, 1989.

Ed. A.I.C.S., Palazzo del Podestà, City of Fabriano, 1989.

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