Exhibitions, Italy, Brescia, 09 May 2015
By Andrea Barretta
Experimentation Pier Luigi Ghidini has already exceeded since the seventies of the twentieth century and going between postimpressionismo cubist manner, then innovation in the nineties that sets the fantastic realism between naturalism and symbolism, and track the use of a "wire "conductor helpful to the development of creativity that settles in the previous steps and is renewed in the way of unveiling to himself, until the permanent" housing "in the art of redecorating a world that still want to utopia. Here, then, that connects anguish and ordeal, condemnation and expiation, images at the source of a surrealism that accords with their own autonomous artistic research that, despite passing rationality, leads to the "change" coveted by André Breton, and if it shows a new world at least a parallel painting soul.
Consequently, the main choices are now dockable in reference to memory, to the eighties in which freedom of expression derived from the latest patterns and geometric faces the fantasy games in the image. Then moor in a different dimension and its latest achievements assumes the hot contradictions of humanity going to the suburbs or industrial, wearing strong color or visibly trembling in the light that floods the city away from the ideals of the existing misery and close to a garrison in support of the imagination.
For this entire work of Ghidini we recognize the interest documentary load a determination that leaves no margin to different outcomes than those of a harmony that pervades his "paintings", as the pages of a book where the artist puts available to those who read his canvas. Picture within a picture to compose scenes of a storyteller, turning to speak to the social fragmentation within an urban core, to astonish or surprise at all, because there are different ways of seeing the world and portray him, in creating the pleasure of overlays that reference in another place in which to draw the origin, to take up the challenge of clues thesis to the memory and not in essence said that resonates to translate literally. Here, then, scenes perpetually sunny, plastered walls and clean, unaffected by weather and with a harmonious connection to what is around to give originality to view, between pale blue and yellow orange to capture the vibrations of light and dreamy to stay lack of shadows where the colors light up and dissolve in nature.
Ingredients of a painting of silence to be part of membership time - mysterious enough - always in a process of something unthinkable, until he reveals the threshold to overcome to get into new scenarios as backdrops or scenes that open on to buildings sometimes impossible, endless references that turn games of walls as mirrors to interconnect cultural universes.
Pier Luigi Ghidini unprecedented advances variable space in the dislocation of the architects noticeable in his paintings when we realize that we can access and inhabit them, and even more so when it detects the make intelligible our age, in a remark that alienating appointment so it accomplished its weaving of invention in the finishing of confession of the invisible, with insights into the spatial rhythm of the houses that they pronounce the landscape but also for the errors.
All this because it does not take into account to justify his choice of style or to support it with theoretical statements because this absence-presence legitimizes a transmissibility of his art in the void that came created between artists and ordinary people. And this mediation is his act as "kind" that explains the difficulty of integrating cunning in the current cultural and explanatory in the occurrence in which recognize the painting as literary prototype.
Experimentation Pier Luigi Ghidini has already exceeded since the seventies of the twentieth century and going between postimpressionismo cubist manner, then innovation in the nineties that sets the fantastic realism between naturalism and symbolism, and track the use of a "wire "conductor helpful to the development of creativity that settles in the previous steps and is renewed in the way of unveiling to himself, until the permanent" housing "in the art of redecorating a world that still want to utopia. Here, then, that connects anguish and ordeal, condemnation and expiation, images at the source of a surrealism that accords with their own autonomous artistic research that, despite passing rationality, leads to the "change" coveted by André Breton, and if it shows a new world at least a parallel painting soul.
Consequently, the main choices are now dockable in reference to memory, to the eighties in which freedom of expression derived from the latest patterns and geometric faces the fantasy games in the image. Then moor in a different dimension and its latest achievements assumes the hot contradictions of humanity going to the suburbs or industrial, wearing strong color or visibly trembling in the light that floods the city away from the ideals of the existing misery and close to a garrison in support of the imagination.
For this entire work of Ghidini we recognize the interest documentary load a determination that leaves no margin to different outcomes than those of a harmony that pervades his "paintings", as the pages of a book where the artist puts available to those who read his canvas. Picture within a picture to compose scenes of a storyteller, turning to speak to the social fragmentation within an urban core, to astonish or surprise at all, because there are different ways of seeing the world and portray him, in creating the pleasure of overlays that reference in another place in which to draw the origin, to take up the challenge of clues thesis to the memory and not in essence said that resonates to translate literally. Here, then, scenes perpetually sunny, plastered walls and clean, unaffected by weather and with a harmonious connection to what is around to give originality to view, between pale blue and yellow orange to capture the vibrations of light and dreamy to stay lack of shadows where the colors light up and dissolve in nature.
Ingredients of a painting of silence to be part of membership time - mysterious enough - always in a process of something unthinkable, until he reveals the threshold to overcome to get into new scenarios as backdrops or scenes that open on to buildings sometimes impossible, endless references that turn games of walls as mirrors to interconnect cultural universes.
Pier Luigi Ghidini unprecedented advances variable space in the dislocation of the architects noticeable in his paintings when we realize that we can access and inhabit them, and even more so when it detects the make intelligible our age, in a remark that alienating appointment so it accomplished its weaving of invention in the finishing of confession of the invisible, with insights into the spatial rhythm of the houses that they pronounce the landscape but also for the errors.
All this because it does not take into account to justify his choice of style or to support it with theoretical statements because this absence-presence legitimizes a transmissibility of his art in the void that came created between artists and ordinary people. And this mediation is his act as "kind" that explains the difficulty of integrating cunning in the current cultural and explanatory in the occurrence in which recognize the painting as literary prototype.
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