Exhibitions, Italy, Firenze, 21 March 2015
Impeccable and unpredictable ... the realism of Luciano Borin
Incline always an impeccable realism, Luciano Borin has never made an aesthetic end in itself, reducing it to mere portraiture or indulging in exercises hyperreality. Indeed nourished him continually declinations original and courageous in an enrichment of content and form. His figure was soon proved in fact the freedom to bend the veracity to unpredictable connections with other modes of expression, including the informal, even bringing back this arousal to a remarkably three-dimensional.
His subjects are people caught in moments of life, indoors and outdoors, in attitudes it seems "natural" - a couple in the living room, a girl who has breakfast in front of the window, taken tourists to photograph monuments - staged in a space that is not only element layout but also the protagonist of the narrative. Space punctuated by planes intersecting and overlapping the figures in a clever play of transparency and interference with symbolic recently as the letters of the alphabet.
The same values, composition and language, so particular to his painting, recur in pastels that, undoubtedly, to the polychrome acquire pictorial appearance, but the same can be said of his designs - so ancient and obsolete technique in which excels in contemporary flavor - where you do not suffer at all the absence of color.
At the end of a text dedicated to Luciano, written at the end of the nineties, I read: "... the theme figural sublime and overbearing in his nod to the true, is redeemed by the coldness of a representation of photographic effect and is charged with meanings more allusive ... "; at a distance of fifteen I can not but note the consistency and continuity of the artist, although always "in progress", and to that end I would add only that his is not a visionary but critical reading of reality and its stereotypes.
Roberta Fiorini
Incline always an impeccable realism, Luciano Borin has never made an aesthetic end in itself, reducing it to mere portraiture or indulging in exercises hyperreality. Indeed nourished him continually declinations original and courageous in an enrichment of content and form. His figure was soon proved in fact the freedom to bend the veracity to unpredictable connections with other modes of expression, including the informal, even bringing back this arousal to a remarkably three-dimensional.
His subjects are people caught in moments of life, indoors and outdoors, in attitudes it seems "natural" - a couple in the living room, a girl who has breakfast in front of the window, taken tourists to photograph monuments - staged in a space that is not only element layout but also the protagonist of the narrative. Space punctuated by planes intersecting and overlapping the figures in a clever play of transparency and interference with symbolic recently as the letters of the alphabet.
The same values, composition and language, so particular to his painting, recur in pastels that, undoubtedly, to the polychrome acquire pictorial appearance, but the same can be said of his designs - so ancient and obsolete technique in which excels in contemporary flavor - where you do not suffer at all the absence of color.
At the end of a text dedicated to Luciano, written at the end of the nineties, I read: "... the theme figural sublime and overbearing in his nod to the true, is redeemed by the coldness of a representation of photographic effect and is charged with meanings more allusive ... "; at a distance of fifteen I can not but note the consistency and continuity of the artist, although always "in progress", and to that end I would add only that his is not a visionary but critical reading of reality and its stereotypes.
Roberta Fiorini
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