GALLERY 1
GALLERY 2
GALLERY 3
On this page I am presenting some works for sale. They represent the last years of my work. For more information please contact me: info@artlini.net
FROM VISUAL POETRY TO PAINTING
In the August of 1988 I had my first one-person painting exhibition in a small cultural centre in Viareggio, in Tuscany.
Since then I quit writing letters and my beloved words; only forms and colours invaded the surface.
Versilia is rich in paiting: unknown artists at times magnificent, live there. The painting and the creativity that goes with it thins down to small pleats; to the most hidden signs as these artist are free from the market mentality and the motivation of earning a living which is vanified by parallel activities.
Exhibiting in these lands and being around these people makes it difficult not to become demanding, intolerant, to feel doubts and frustrations about one's work of art; but it also makes you rigorous and so refined as to recognise the sense of you work only by looking at the painting.
Only by facing the painting, your triumph or impotence, can you have the realization, the right of feeling or not feeling that you are a painter. And a person from Versilia will never delegate this right to anybody else.
Since then, the exhibit in 1988, colours and the strength that form can give them, have accompanied me along a. path that is uncertain, sometimes confused and devoid of ways out, but still the only one I can follow.
In these years I have had very few opportunities to exhibit, usually with friends, usually limited to our region.
Since 1991 I have been living in Florence. Here I have the opportunity of a constant relationship with what constituted man and created our civilization: the fullness and the power of art, of harmony appears here in its splendour and the questions an artist asks himself are at times oppressing if his works are so inadequate to the answers.
Why art? Why is the beauty of a work of art so important in your own life and the course of a civilization?
Why does the work of art turn out to be the most realistic mirror of man and his time when it seems to be transient and the result of the sudden concession of an inexplicable sensitivity, the gift of something well beyond the talents that set it into action? Why is it so precise that nothing, no other work or human activity will be able to show the spirit of an epoch so successfully?
But still no work of art will ever have the completeness and the warmth of the body that drew it even it its time seems to mock the one thanks to which it came into being.
I have no answers to all this. One can only face a white surface with the awareness that everything which will come does not belong to one's thought and decisions, but if its able to express itself it will include it and express it like a part of one's self in which it will set itself clearly and openly.
Because whatever is born, wether high or useless, is the mirror and the most distinguishing trait of the person who generates it; closer to oneself as to love it, if no other form could be the one in which a person's "Self" seems to get lost and to strangely constitute itself.
Arturo Lini, Firenze, 1994
THE GOLDEN CHAIN
Acrylic on masonite,
Cm. 26x30,5 Date 2008
SYMBOL
Acrylic on masonite
Cm. 34x34, Date 2006
THE CAT
Acrylic on masonite
Cm. 26x30,5 Date 2007
PEACOCK
Acrylic on masonite
Cm 28x28, Date 2007
HORUS
Acrylic on canvas
Cm. 40x35, Date 2005
FISH
Acrylic on masonite
Cm. 26x30,5 Date 2008
MANDALA
Acrylic on masonite
Cm. 60x60, Date 2005
BIRD WITH GOLD BELL
Acrylic on masonite
Cm. 26x30,5 Date 2009
MASK
Acrylic on masonite
Cm. 26x30,5 Date 2008
DRUM MAN
Acrylic on canvas,
Cm. 40x35, Date 2007
THE GOLDEN CIRCLE
Acrylic and stones on masonite,
Cm.27x27, Date 2007
PRIMITIVE FORMS
Acrylic on masonite
Cm. 28x28,Date 2006
GALLERY 2
