GALLERY 1
GALLERY 2
GALLERY 3
STRATIFIED CULTURES IN THE FORMS OF ARTURO LINI
Arturo Lini is a painter engaged in a formal research among the abstractions that suggest to him different solutions in which certain characters of writing, and symbolic signs, become forms themselves, in a condition free from aesthetic codes that would otherwise limit fantasy and imagination.
Sometimes the suggestions mix in a very orderly compositions and at times they appear on the canvas in expressions that are thinned out both in sign and colour and identify themselves with entities drawn from geometry. And they are relationships, assonance of matter, that seem barely and vaguely identifiable on the chalk supports laid out to suck their colour and signs; to determinate the fusion with the background only apparently monochromatic but, in actual fact, composed by a protuberant polychromy, sensitive to certain angulations of light.
Like that, the hallucinations that lead a poet to run through the emotional episodes that are most easy reading through words and images, appear in those backgrounds: on two paths, which are situations in that they are caused by sudden jumps in the chaos or darkness in which ideas end up when they feel as imminent the phenomenon of creativity.
This solitary artist, as i was saying, has been completely involved by his love for visual poetry. That is to say a way of expressing art that he came in touch with in Florence where he lives in his studio - flat at the top of a narrow and steep staircase.
A passionate research rigorously carried out through a series of events that marked his creativity: the rereading of Cezanne and Gauguin, the study of ancient symbologies or the reconsideration of same visual poetic attempts which remained in memory like precious stones originating from the most fascinating mines of memory: the attraction for reminiscences of futurism, up to the evolution of Totem which have slowly and almost by mysterious direction slipped into the cycle of Partiture and Sumbola, responsible of the stylistic refinements that enrich the forms barely distinguishable but full of an indisputable expressive strength.
By retracing Lini's life we can perhaps find the origins of the facts and situations that inspire his work. And they could be situations not clearly focused by the conscience of the child too frail at the time: Volterra is what I mean, and the episodes of civilization which constitute its structure.
The lovely Volterra where Lini was born in 1948 and where he stayed up the age of seven. The walls of the centre, the ashlar corroded by time and made evanescent in description by the frailty of memory: facts and situations that return with strength in the furrows of research. Fragments and archaeological finds dug up by the plough that sinks into the ground: mysterious memory of the time in which it generated ancient cultures.
In such a mixture of conscious or unconscious experiences Lini's soul explores the most congenial path of his art which seldom repents as those truths emerge full of stratified civilization. The real and the imaginary that disclose to him, painter, the enchanted world of poetry.
Tommaso Paloscia, Florence 1994
TOTEM
Mixed on masonite,
Cm. 112X110
Dated 1993
SACRED MANDALA
Medium: Mixed on masonite
Width: cm.76 Height: cm.78
Dated: 2003
TOTEM
Acrylic on canvas
Cm.120x100
Dated: 1994
SYMBOLIC FORM
Acrylic on wood,
Cm.45x45,
Dated 2006
MASKS
Mixed on masonite
Cm.50x50, Date 2008
CELESTIAL DOOR
Acrylic on wood,
Cm. 60x55,
Dated 2006
SACRED TOTEM
Acrylic on wood,
Cm.35x35,
Dated 2007
SUMBOLA
Medium: Acrylic on wood
Width: cm142 Height: cm.138
Dated: 2003
SYMBOLIC FORM
Acrylic on canvas,
Cm.40x35,
Dated 2006
GALLERY 3
