Featuring works by Carlo Bertè, Gillo Dorfles, Umberto Faini, Sandro Martini, Valentino Vago and Urs Bachsteffel, the exhibit “The Spirit of Colour” showcases a selection of works from six established contemporary art approaches that all embrace colour as a common theme.
What is colour? How can colour be applied? And what and how can it be used to convey? These six artists, who are predominantly a product of today’s Italian cultural landscape – one that can glimpse back to centuries old traditions in the use and application of colour – foster their very own approach to the topic.
Gillo Dorfles developed his own approach to “concrete painting” that emerged from a countermovement to the Italian Arte Informale of the 1950s. Relying on Goethe’s Theory of Colours, he replaces harsh geometric forms with amorphous ones born, without precedent, “from the colour”. In so doing, these forms obtain their own concreteness. His colourful drawings populated with surreal beings target the non-verbal visual and the rational thought of the viewer as an archetypal primeval form for human beings.
Umberto Faini also demands his viewers’ power of association and rationale with his fleetingly conceived landscape paintings rendered as printed graphics. The primary interest lies in an artistic exploration of dependencies and conditions of colour, light and perception that appears akin to the body of thought embraced by the Impressionism of Monet or perhaps the Pointilists.
For Urs Bachsteffel, colour holds on to a spiritual moment beyond the echoes of Impressionism. Like one recognizable in the Abstract Expressionism of a Jackson Pollock: it is as if she is translating a personal letter in her layered paintings and striving towards impressions of physical and emotional presence.
However, only with Valentino Vago does the physical moment as raw material take the use of colour to another level. He paints exclusively with his bare hands. His “search for the path leading the beauty of painting to its birth” is especially shaped by his corporeal interaction with the painting.
Sandro Martini and Carlo Berté
Carlo Bertè also consciously focuses on physical properties and coincidences arising in his overpaintings from the paint application and painting process. He embraces them in order to ultimately appropriate them as his own in his interpretation of catastrophe.
Sandro Martini uses his works to convey his ultimate concept: the use of colour and illustration is above all about transporting painting beyond its boundaries. From canvas works to sculptures to “work in progress” installations to novel fresco techniques, he conceptualizes his abstract paintings from an area within the space and, in the process, repositions the centuries old notions about painting – the perfect illusionistic conceptualization of space through colour.
To sum it up in the words of Theo van Doesburg: “Painting is a means for manifesting thoughts in an optical way. Every pictures is a coloured thought.”
This opening online exhibition will offer a first glimpse of ARTQUISITE’s program which will be dedicated to creating curated presentations featuring selected themes and artistic landscapes.