GIULIANO SERAFINI, 1984
Ed.
Galleria, Il Pozzo, Città di Castello, 1984.
Ed.
Galleria, La Virgola, Fabriano, 1986.
(...) It was the time of white paper
which the scalpel cut with subtle parallel nervures, fences and
pentagrams, movement at the limit of perception, to prove a spasmodic
restlessness, tense and self-afflicting, in the moment in which it
implied the coincidence between aesthetic and moral factor.
Even then it appeared
difficult to catalogue Gubinelli's work:
Without a doubt a Gestalt-type study, as has been written, but
let us not forget his logical-analytic denotation insinuating the design
specific of the geometric sequences revealed by light.
(...) Thus after the "physical"
phase of light and space, another phase leading to a liberated dimension
opens for Gubinelli. The
passage occurs by means of colour and in colour: extreme conquest, song opposed
to thought, significant signal by antonomasia. Hence ensues a constellation of
ideograms, from the "mandala" to the labyrinth, the emergence
of biomorphic energies which become true in dots, spirals, nuclear
shapes and cosmic routes. Gesture
leads to graffiti, to the innocence of magical practice, to an
automatism by which even scalpel strokes become cuts and follow more
adventurous courses behind the centrifugal rhythm of the sign still
partially concealed in the lower indications of waxes and pastels; or
they design curvilinear sections, triangular fields within which the
suggestions of Mirò and Twombly are absorbed; as in a diminuendo, they
soften in the game of stratifications:
from construens,
Gubinelli has now reached the tale, the lyrical poem.
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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