Danilo Bucchi | curated by Gianluca Marziani
18 Apr 2013 – 01 Jun 2013
Tracing a black line, which flows like a path inside and beyond reality. Drawing an imaginative line, which starts from languages and goes through cities, experiences, interactions, memories, other languages…
Danilo Bucchi is back in Rome with a solo exhibition which resembles the description above: a sort of diary collecting variously-sized portraits with a protean physiognomy, resulting from a metabolic process which involves the external world.
Bucchi and his own multiplicity: the fluid sign of syringes replacing paintbrushes; dolls as favourite subjects of an almost theatrical body, sculpture as a new medium which is meant to broaden the horizons of language.
Aluminium, paper and canvas are the metabolising surfaces of Bucchi’s recitative figuration: a motionless dance involving his restless and pensive humankind, his volumetric self-portrait and his dolls, hybrid creatures between the Kabuki theatre and fabric puppets.
Inside the concentric and immersive, floating and cosmic, evocative and recognisable worlds created by Bucchi, the real world undergoes a transformation: here the souls of the author, replete with suggestions from movies, comics, fashion and design, literature and technology, merge with each other– many souls whose genes blend together in front of their iconographical destiny, where references fade away and yield to the destiny of a new visionary identity.
Today the first sculpture by Bucchi, which is the fruit of methodical patience and high figurative quality,is seeing the light of day, after two years of meticulous work. Its realisation required the combinationof manual dexterity and technology.
The result is a protean photofit, where the roots of the artist’sphysiognomy, carved into aluminium, spread figurative hints. This multiple profile, built through a selectionof overlapping hints, is centred on a “prime suspect”, namely Danilo Bucchi himself. A three-dimensionalself-portrait, where the author describes himself through his posture, his clothes, his hat.
And whereone detail, the charge on his back, becomes a denotative and connotative key, a sort of dynamic logoreinforcing the bond between the work and the observer.
They represent an essential component in Bucchi’s artistic trajectory. Their pictorial presence embodiesthe playful and feminine dimension, through figurative codes which put the emphasis on the naturalness oftheir faces and the artificiality of their eyes. These melancholy dolls have awe-inspiring eyes and Beckettianfaces, reminiscent of silent performances: they stare at us, revealing their mesmerising sensuality.
They incarnate the “feminine” side of a highly emotional painting, permeated by inner suggestions andrecognisable codes. Here the artist’s most meditative side emerges: the colours fill the perimeters,measuring the intensity of feelings and exploring moods and their sensorial modulation.
The continuous black circle, realised with syringes instead of brushes, is featured in different versions,ranging from large sizes to notebook sheets: dimensional poles of a narrative vision, where interior voices,related stories, relational keys, humanoid genders blend with each other.
Bucchi’s driving force lies in thecircle, the primary figure of childish painting, but also of Giotto’s developments, of Klee’s and Kandinsky’s abstractionism, of Zorio’s and Mattiacci’s Arte Povera installations…we could go back and forth through arthistory, finding endless clues which would further reassert the circle as a “brick for elaboration”.
Bucchi’s sign rotation now becomes a tangle of figure, mass and narration, a sort of organic perimeter developingphysicality by subtraction, through the white backdrop. Now, synthesis turns into a reinvention of the worldthrough the simplicity of the primordial line. Now, there are black men who do not frighten us, but induceus to think. Now, the white backdrop is the new black of unveiled darkness.
Now, signs reveal the soul of a special eye.