ROBERTO DAOLIO,
1989
Purity, vibration, transparency, luminosity and construction are
not only crucial terms that can adhere to the complex and tenacious
entirety of Paolo Gubinelli's work, for the more or less lyrical
transposition of the sense of an exploration destined to undergo
modification and advance on the ground of subtle and sensibly controlled
variations. Of course, it is
not easy to preserve the sense and rhythm of shapes and signs, animated by
a reflexive analytical will, in the proliferation of mnemonic pulsions and
in nostalgic reminiscences of a past ineluctable and, at the same time,
"to forget."
Gubinelli,
in any event, perceives the weight (or perhaps it would be better to say
the obstructive "lightness") of a lyrical abstraction destined
to consume itself in the true and living space of the environment, through
the fragile structure of a geometric framework conducted over the rhythms
of folds, cuts and even tears. Indeed,
so much as to inform and warn that the reflexive and, for certain aspects,
rational nature of the overall constructive game opens up to a sort of
instability and precariousness as a different order. Different, especially, from a
cartography of sentiments which often camouflages, under the aegis of
control and hybridisation, the concrete measuring of perceptive
micro-structures, almost prevented from qualifying themselves and instead
revealed as explicit and evident patterns.
Without shirking legitimate and, for certain aspects, changing
expressive sensibilisation, Gubinelli with measured detachment conserves
the limit imposed on the evocation or the germination of the sign strewn
with obligatory relations and passages.
Whether they be determined by a punctual rigour of composition or
instead "veiled" and assimilated to the flowing liquidity of
colour.
As we see
in the works of his latest period, characterised by an amalgamation and
support of the constructive order of incisions, cuts and scratches in a
process of pictorial osmosis, aimed at condensing on the surface the
"full-bodied" ineffability of an event.
As the
pure erasure of papers and cardboards, folded and cut to subvert a soberly
constructed spatiality in an auto-referential and tautological analysis,
has contributed to solicit distance and uniqueness also in design, now the
more fluid, free and wiser use of colour reproposes an indecipherable
evocative enchantment. The
order and disorder of a linguistic combination, which is anything but
instrumental, exhibit a new participation, more intimate, but not for this
reason wandering in an excessively easy and affected lyricism.
May, 1989
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