GALLERY 1
GALLERY 2
GALLERY 3
THE POET AND THE PAINTER
Is what I wrote before about Lini still valid? Only in part. We may sure still say that he is a poet, and we must not think that this definition is inappropriate to define a painter: we shall leave this kind of silly idea to the bureaucrats of criticism. In my opinion Lini remains a poet who substitutes the combination of words with human and formal "situations". As he did a few years ago, he tends to give existential meanings to the expressive operations he carries out; in the same way in which he wishes to urgently "deliver to the history of memory" a part of himself, the part the justifies his being in the world. Even here his "situations " are flashes - sometimes of knowledge sometimes not - of the chaos in which life enflames and destroys itself. Flashes that follow personal moments of daily resurrection which is very bland but nonetheless necessary.
The works of his art become symbols of "a way of being", magic signs of a communication that starts from the mind and the heart of one man to move no to only into the mind of others but in the general chaos of knowledge. Only Totems can defend us from chaos.
Before that he used letters to enrich his pictorial language while now rarefaction and essentiality have become so important as to make a surface, a point a geometric association sufficient to testify his presence as a man. The elements can grow from the individual to the multitude, from one square to many squares, from two to thirty tiny circles but the sign in itself is a unique amount if related to the idea that generated it and there is no need to express oneself in numbers, ordinal or cardinal: the sign contains everything and nothing, the one and the infinite.
But behind all this there's the painter A. Lini attempting another one of his answers to "the tensions of the world" and "to his own in relation to the world" and to do this he inserts signs within signs, colours within colours, squares within squares, putting more material on the canvas, playing on shiny masonite on glued papers but constantly setting himself in the middle of an harmonious and upsetting research of "coloured situations" that lead us to decode an elementary presence of symbols whose mystery (together with the evident harmony of colours) represents the principal element of the beauty of these works. It is true that nowadays all values are the object of discussion, that the metres by which we judge things are changing but our senses, our physical relationship with things remain positively valid. And luckily senses for a mysterious game of neurons are able to reach some secret centre of our brain cells where they fortunately merge with the light of the culture that they assimilated: perhaps this communion enables you to achieve aesthetic pleasure and at the same time the pleasure of creating a symbol which unifies in itself all contradictions and opposites.
Dino Carlesi, Pisa, May 1996
WAR TOTEM
Medium: Mixed on wood
Width:cm.100 Height cm.100
Dated: 1991
PARTITURA
Medium: Acrylic on canvas
Width:cm.108 Height cm.112
Dated: 1994
FACE TOTEM
Medium: Acrylic on canvas
Width:cm.80 Height cm.100
Dated: 1993
PARTITURA
Medium: Acrylic on wood
Width cm.75 Height:cm.75
Dated: 2008
SYMBOLIC FORM
Acrylic on canvas,
Cm.40x35,
Dated 2007
PARTITURA
Medium: Acrylic on wood
Width: cm.65 Height: cm.65
Dated: 2004
ALKAHEST
Medium: Acrylic on masonite
Width: cm.128 Height: cm.144
Dated: 2000
SACRED IMAGE
Medium: Acrylic on wood
Width: cm.40 Height: cm.40
Dated: 2003
RITUAL CIRCLE
Medium: Acrylic on wood
Width: cm.65 Height: cm.65
Dated: 2006
GALLERY 3
