GALLERY 1
GALLERY 2
GALLERY 3
VISUAL POETRY
The attention to the "visual poetry" begins in the year 1982, after the writing of "Opera Prima" a collection of poems published in 1983, as natural evolution of a avant-garde research that had in the "Group 63" and in the Florentine visual poets in the seventies the reference points.
The first works of Lini are immediately characterized from a personal and original language, constituted of collages and mixed media developed according to moulds near to a pictorial sensibility and the gestural painting. Subsequently, since 1985, the works are governed by a purity and formal essentiality, almost in a conceptual order, essential in the colour shade. These are compositions born inside of a geometrical division of the pictorial space, until the cycle of the "Landscapes" - dedicated to some important painters of the last century as Gauguin or Cezanne - that close the period of the "visual poetry".
VISUAL POETRY & OTHER
The literature — Roland Barthes writes — knows human soul. In the Genesis we read that the creation of the world happens simply "pronouncing it". The word shapes the things, tells them to the human experience, and becomes instrument of communication. In this way we can better understand the nature of the art. How much way from the first signs that the man composed in order to transmit to other men his own knowledges! And it is possible that future forms of communication will use various systems, like the colours, the musical notes, the words, not only in the same message but also in the same alphabet.
At all this already look various artistic expressions that generally are included in the “visual poetry”. From the "words in freedom" of the Futurism to the “calligrammi” of Apollinaire, from the "pages of writing" of Accame to the "technological poetry" of Pignotti, a same attempt has supported these experiences: to not only conceive the word like semantic sign, but also like visual instrument. An advertising manifesto can be an example of words and images that concur to one same effect. From this short introduction the sense of my work can easy be picked: a test on the availability of the word used in a traditionally visual space.
Moments, phrases, of one same conviction: that it is possible to write poems made of words, shapes, colours.
Arturo Lini, Viareggio 1988
THE RED PIN
Mixed on cardboard
Cm. 54x62, 1984
ANOTHER DARK
Mixed on cardboard
Cm.70x100, 1985
WHITE POEM
Mixed on cardboard
Cm. 60x54, 1983
BUS
Acrylic on wood
Cm. 50x70, 1985
I'M FOLLOWING WORDS
Mixed on canvas
Cm. 60x80, 1983
SUBURBS
Acrylic on canvas
Cm. 60x80, 1988
LIKE A WORD IN THE AIR
Acrylic on wood
Cm. 60x90, 1983
CUBOFUTURISMI
Mixed on canvas
Cm. 95x105, 1986
TWO US
Mixed on cardboard
Cm. 60x65, 1987
