Exhibitions, Italy, Venezia, Iesolo, 10 August 2010
All this represents the work accomplished.
In its occur within different areas of expression, the creative project of Arturo Baldan seems to sidetrack people, including observers and commentators possible, try to define the identity and poetic style. This may, hypothetically, be denoted as its projection of a restlessness and curiosity that, backed by his work, have found ways to practice the various compositional solutions adopted and, with them, making choices "materials" through which they took shape. However, a closer look at what can be recognized in the young history of artistic production is a constant evolution and its consistent, in which each of the areas where trials have been established has made itself one or more questions - for their vocation open - in an attempt to generate additional and different.
If the term "research", with its metaphorical content is not always matched to the extent appropriate to the name of many contemporary works, it seems appropriate to accompany the story of Venetian art, whose originality is indirectly evidenced by the proliferation of contradictory references This drew: informal, kinetic art, minimalism, conceptual art. Expressive dimensions actually touched, but did not express a genuine connection with their forms and intentions.
Arturo Baldan approached creative activity by himself, taking with him a wealth of cultural and intellectual interests - also referred to several areas among them: philosophy, psychology, literature - can extend the semantic level, further enriched by "interference" of memory, both personal and collective. Aspects that, in reading the work, the artist calls for the recognition by a set of references and chains of meaning, which may have their initiation in never casual titles.
The gestural painting, the emancipation of the sign from the figure, the charm of chromatic material, seen as a depositary presence implicit value: even with the dissemination of faint traces of a recognizable reality, the surfaces look to the experiences of early "informal" of postwar period, with a noticeable preference for the side of abstract expressionism. Both performed in 2006, Symphony in Black and White and Monochrome blue, between episodes of this production more mature, have the need to bring in an order the more sedate mode of action painting, and with them its immediate translation of the simmer 'unconscious and instinct. However, the earlier even more Black eyes and the sign of destiny suggests some future developments of the work Baldan, you will note chromatically on the severity of whites and blacks, in comparison are based on the two works. In the latter one, swift strokes black intercept, through their seemingly spontaneous place, a mysterious figure who seems wrapped painted on paper, and instead it is on the face "inside" of glass lying on the surface then a white background, so that what is to be shown is that the author could not see during the procedure: the hidden side of the color. An operation in which portions of white, then nothing that a "vacuum" chromatic assume structuring function, and a speculative game that conceals the identity of the constituent elements of expressive fact, besides the possibility of a subtle displacement of Who puts in place.
The color, however, is intended to characterize the entry into the next phase of his work, which reads the strict approach of the surfaces of three-dimensional Mondrian through forms cubic or rectangular shape, which fit structures are sinuous The Body in 2006, or strictly orthogonal, as in checkmate the same year. Just the solution brings the artist to reflect on the relationship between unity and all suspended between philosophy and the nature of modern image technology, a topic that explained in great assembly pixels, fragments of light, dated 2009. The same mode of operation leads to a cooling of the emotional component, in favor of highlighting the mental and analytical. This research proceed lambirà kinetic visual perception through the deceptions produced by essential facilities of optical effects, which occasionally show the purity of the material parts corrupted by drips of color, and then signs fade in areas most poetic, persuading the light to move virtually surface courses and actions and the diptych Bend light in 2009, articulating depressions and reliefs. A sort of underground bradyseism had instead disrupted the assembly of a previous year, a work which, despite its stasis, recalled the vibration of concrete "walls" of the unforgettable Gianni Colombo. But the basic element of aesthetic operations orchestrated by Baldan was recently charged with new implications, which included a quote from the taste of grain games. Stabat naked aestas, title of a famous poem D'Annunzio, lends itself to describe the "stripping" from the pigment forms, called to build a new composition by showing the essence of small wooden cubes coated fabric, which folds suggest approaching a new decorative rhythm. Paratactic presentation of six items of larger size, this time listed in black, instead determines the reference to Six Characters in Search of an Author, by the most famous of the Italian playwrights.
The alteration unit area, or that any individual pieces that compose it, but is perhaps most interesting aspect of the artist's latest research. The almost imperceptible erosion, spread along the tangencies between different parts of Centres of interest, beginning with the title alluding to the pedagogical method of Ovide Decroly - which, not surprisingly, orient the achievement of general knowledge through the analysis of individual's basic needs - a dramatic structural collapse of London. In this case, the initial suggestion of "blacks" who, with their distinctive opacity characterize Sironi's painting of the 40s, it was associated in the imagination of the artist, the memory of the destruction in the British capital was covered in the same decade: two tracks and visual themes from Baldan translated into a formal outcome of particular eloquence, that invites reflection on the transience of human affairs.
Nicola Galvan
In its occur within different areas of expression, the creative project of Arturo Baldan seems to sidetrack people, including observers and commentators possible, try to define the identity and poetic style. This may, hypothetically, be denoted as its projection of a restlessness and curiosity that, backed by his work, have found ways to practice the various compositional solutions adopted and, with them, making choices "materials" through which they took shape. However, a closer look at what can be recognized in the young history of artistic production is a constant evolution and its consistent, in which each of the areas where trials have been established has made itself one or more questions - for their vocation open - in an attempt to generate additional and different.
If the term "research", with its metaphorical content is not always matched to the extent appropriate to the name of many contemporary works, it seems appropriate to accompany the story of Venetian art, whose originality is indirectly evidenced by the proliferation of contradictory references This drew: informal, kinetic art, minimalism, conceptual art. Expressive dimensions actually touched, but did not express a genuine connection with their forms and intentions.
Arturo Baldan approached creative activity by himself, taking with him a wealth of cultural and intellectual interests - also referred to several areas among them: philosophy, psychology, literature - can extend the semantic level, further enriched by "interference" of memory, both personal and collective. Aspects that, in reading the work, the artist calls for the recognition by a set of references and chains of meaning, which may have their initiation in never casual titles.
The gestural painting, the emancipation of the sign from the figure, the charm of chromatic material, seen as a depositary presence implicit value: even with the dissemination of faint traces of a recognizable reality, the surfaces look to the experiences of early "informal" of postwar period, with a noticeable preference for the side of abstract expressionism. Both performed in 2006, Symphony in Black and White and Monochrome blue, between episodes of this production more mature, have the need to bring in an order the more sedate mode of action painting, and with them its immediate translation of the simmer 'unconscious and instinct. However, the earlier even more Black eyes and the sign of destiny suggests some future developments of the work Baldan, you will note chromatically on the severity of whites and blacks, in comparison are based on the two works. In the latter one, swift strokes black intercept, through their seemingly spontaneous place, a mysterious figure who seems wrapped painted on paper, and instead it is on the face "inside" of glass lying on the surface then a white background, so that what is to be shown is that the author could not see during the procedure: the hidden side of the color. An operation in which portions of white, then nothing that a "vacuum" chromatic assume structuring function, and a speculative game that conceals the identity of the constituent elements of expressive fact, besides the possibility of a subtle displacement of Who puts in place.
The color, however, is intended to characterize the entry into the next phase of his work, which reads the strict approach of the surfaces of three-dimensional Mondrian through forms cubic or rectangular shape, which fit structures are sinuous The Body in 2006, or strictly orthogonal, as in checkmate the same year. Just the solution brings the artist to reflect on the relationship between unity and all suspended between philosophy and the nature of modern image technology, a topic that explained in great assembly pixels, fragments of light, dated 2009. The same mode of operation leads to a cooling of the emotional component, in favor of highlighting the mental and analytical. This research proceed lambirà kinetic visual perception through the deceptions produced by essential facilities of optical effects, which occasionally show the purity of the material parts corrupted by drips of color, and then signs fade in areas most poetic, persuading the light to move virtually surface courses and actions and the diptych Bend light in 2009, articulating depressions and reliefs. A sort of underground bradyseism had instead disrupted the assembly of a previous year, a work which, despite its stasis, recalled the vibration of concrete "walls" of the unforgettable Gianni Colombo. But the basic element of aesthetic operations orchestrated by Baldan was recently charged with new implications, which included a quote from the taste of grain games. Stabat naked aestas, title of a famous poem D'Annunzio, lends itself to describe the "stripping" from the pigment forms, called to build a new composition by showing the essence of small wooden cubes coated fabric, which folds suggest approaching a new decorative rhythm. Paratactic presentation of six items of larger size, this time listed in black, instead determines the reference to Six Characters in Search of an Author, by the most famous of the Italian playwrights.
The alteration unit area, or that any individual pieces that compose it, but is perhaps most interesting aspect of the artist's latest research. The almost imperceptible erosion, spread along the tangencies between different parts of Centres of interest, beginning with the title alluding to the pedagogical method of Ovide Decroly - which, not surprisingly, orient the achievement of general knowledge through the analysis of individual's basic needs - a dramatic structural collapse of London. In this case, the initial suggestion of "blacks" who, with their distinctive opacity characterize Sironi's painting of the 40s, it was associated in the imagination of the artist, the memory of the destruction in the British capital was covered in the same decade: two tracks and visual themes from Baldan translated into a formal outcome of particular eloquence, that invites reflection on the transience of human affairs.
Nicola Galvan
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