19 mar 2014
A critical essay of a post rock artistry: Riccardo Brotini and Spirals development
In a step-back big-picture sighting, Riccardo Brotini's work is easily bound to the forces of nature and earth natural position, but as side Brotini has clearly chosen to completely and physically, deconstruct the real and he has returned to a “real imagination earth” throughout his work.
Perhaps 2004 is precisely the right time the crack in Brotini mainstreamed “hopper-renaissance” just left for the trajectory of his pendulum practicing, for born to be viewed new embodiment, ready for larger exhibitions. This development has come after a long progression of paintings in his well known and appreciated exquisite manner of painting with light versed into pragmatic actually anchored realism and high stylistic worship.. Nothing completely disappear, but in the last seven years the spiral research finally comes to be completed and acquire a public of aficionados and dripping-style hooligans. We are not interested in the process of installation but moreover in finding a central point from which peoples, imagination, tradition, history, and a hundred years of experiences can be derived and obviously get to. The rounding research of the spiral movement is constant and for sure deeply connected with the interaction with the physical place you being actually go from. Anybody could argument that there isn’t anything artistic or innovative in this way of researching: it’s anything but true. The subliminal and sub terrain force that bond the chain to the earth is the same that bond people to their countries and place where they’re living, A kind of physics-emotional-mathematical umbilical cord, that could be cut or maintained, but deeply express the embodiment of human beings. While the drops of painting that characterize much of the spirals have played a great role in Brotini’s new work identity and mythology, what could be an immovable, exalted reference, using it as a point of inquiry and accessible engagement through the common and familiar of every people. Hypnotic dance of the pendulum is nothing new in human cosmos, but His paintings are to be identified by every single watcher as a part his own identity, and root and, why not, own life. What occurs in these paintings and installations is a way of questioning the strength of not only bodies, buildings, earth, but the whole universe, with formations of multiple structures depending of latitude and crowd-mass as a new apple falling on everybody head. An acknowledgement of power is kept in each single painting, easily compared to another of the series but totally, deeply different, reformed by twists, and simply taken apart in the end.
Throughout his work, Brotini has seemed to chronicle the place of these spirals in the context of spaces and places on the whole earth. While living in Tuscany, Brotini could experiment techniques and results, but these works seemed to ground and find a place to be contextualized and taken. That’s what we could call as centered globalization. A global positioning system that consider the different and every time peculiar character of each single physical place. And this is the beauty and the unicity of the act itself. It can be started wherever but never comes to the same result. Not a place it’s equal to another in Brotini’s Spiral map of consciousness and earth strength. Anything is too large to control, by the attraction-reaction power of out native soil called earth.
We of course have no answers about the question of possibility and variety of forms as light relationship with speed. Here Riccardo Brotini provides the viewer with movement-become-static embodiment of the potential energy that rules the structure of world, moving from the realm of pure aesthetic questioning to a physical experience. It may be only a simple movement, a gesture, a break of time or a remembrance and nostalgia of our unborn days into formed reality, or finally compelled by new vantage paint drops, shapes, and composition.
M.M. 2014
Perhaps 2004 is precisely the right time the crack in Brotini mainstreamed “hopper-renaissance” just left for the trajectory of his pendulum practicing, for born to be viewed new embodiment, ready for larger exhibitions. This development has come after a long progression of paintings in his well known and appreciated exquisite manner of painting with light versed into pragmatic actually anchored realism and high stylistic worship.. Nothing completely disappear, but in the last seven years the spiral research finally comes to be completed and acquire a public of aficionados and dripping-style hooligans. We are not interested in the process of installation but moreover in finding a central point from which peoples, imagination, tradition, history, and a hundred years of experiences can be derived and obviously get to. The rounding research of the spiral movement is constant and for sure deeply connected with the interaction with the physical place you being actually go from. Anybody could argument that there isn’t anything artistic or innovative in this way of researching: it’s anything but true. The subliminal and sub terrain force that bond the chain to the earth is the same that bond people to their countries and place where they’re living, A kind of physics-emotional-mathematical umbilical cord, that could be cut or maintained, but deeply express the embodiment of human beings. While the drops of painting that characterize much of the spirals have played a great role in Brotini’s new work identity and mythology, what could be an immovable, exalted reference, using it as a point of inquiry and accessible engagement through the common and familiar of every people. Hypnotic dance of the pendulum is nothing new in human cosmos, but His paintings are to be identified by every single watcher as a part his own identity, and root and, why not, own life. What occurs in these paintings and installations is a way of questioning the strength of not only bodies, buildings, earth, but the whole universe, with formations of multiple structures depending of latitude and crowd-mass as a new apple falling on everybody head. An acknowledgement of power is kept in each single painting, easily compared to another of the series but totally, deeply different, reformed by twists, and simply taken apart in the end.
Throughout his work, Brotini has seemed to chronicle the place of these spirals in the context of spaces and places on the whole earth. While living in Tuscany, Brotini could experiment techniques and results, but these works seemed to ground and find a place to be contextualized and taken. That’s what we could call as centered globalization. A global positioning system that consider the different and every time peculiar character of each single physical place. And this is the beauty and the unicity of the act itself. It can be started wherever but never comes to the same result. Not a place it’s equal to another in Brotini’s Spiral map of consciousness and earth strength. Anything is too large to control, by the attraction-reaction power of out native soil called earth.
We of course have no answers about the question of possibility and variety of forms as light relationship with speed. Here Riccardo Brotini provides the viewer with movement-become-static embodiment of the potential energy that rules the structure of world, moving from the realm of pure aesthetic questioning to a physical experience. It may be only a simple movement, a gesture, a break of time or a remembrance and nostalgia of our unborn days into formed reality, or finally compelled by new vantage paint drops, shapes, and composition.
M.M. 2014
