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Vertical Concept
by Pamela Cento

How are out thoughts shaped? What rhythm do they follow? Some answers are found in Bruno Biondi’s work. Repetitive unswerving lines, engrossed to obsession, imperfect, occasionally free or liberated, sometimes isolated, sometimes adjoined by other lines where the expectation is th… Read More
Vertical Concept
by Pamela Cento

How are out thoughts shaped? What rhythm do they follow? Some answers are found in Bruno Biondi’s work. Repetitive unswerving lines, engrossed to obsession, imperfect, occasionally free or liberated, sometimes isolated, sometimes adjoined by other lines where the expectation is that they may eventually meet in that human/non-human space that is infinity. Linearity pervades all material and formal spaces of Bruno Biondi’s pictorial work. Repetition, obvious and insistent, is not only gestural or material experimentation; it is an exploration to transcend one’s own thoughts through form and order. Concepts require urgent arrangements, putting them in sequence to rationally fill bi-dimensional space. This is the root of liberation and access to the paths of infinity. The works of Bruno Biondi are created with fullbodied materials, acrylic, sawdust, construction material: substantive and solid matter that encompass the opposing ethereal mental dynamism. He excels in experimenting and measuring materials in a rational manner. From hand-made drafts to their transposition on large formats, the approach is invariably rigorous leading him to score, scrape and occasionally furrow materials. Not much is left to pictorial instinct; rather the essence is prior analysis, deep interior -possibly painful- introspection before a large empty support, a support to be composed of psychic elements before they are devised to tangible form. Works are bred through catharsis and an urgency to materialize thoughts. Thoughts which become vertical concepts (aiming for infiniti, becoming greater than themselves) on a canvas, and through imagination grow out of their base, forever liberated. Communication through pictorial art is achieved via signs, a phraseology more than a language. Signs have greater meaning than the words of any language, are ambiguous by nature and open to a variety of interpretations by the beholder (however correct it may be). Bruno Biondi’s artistic work communicates with a singular sign: the linear line. With this fascinating primitive concept, yet declined with extreme perfection and refinement, he transmits the difficulty of existing and resisting on the path of mental elaborations that materialize and become an ensemble of concepts. Bruno Biondi relates his psychic world with a language of signs, as if we were deaf, a different line of communication, without lace, via the vertical metric of signs. The message is not immediate. But once the constant linear rhythm is overcome, one realizes that every straight line has its own story, developing its own energy, concept and matter. Read Less
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As I had never thought about it before now, today I’m realizing how important it is to master the technique and materials I use in my paintings. It is good to make notes and it is good also to photograph all stages of processing. Assimilate as much as possible every kind of experience, as each a painting is differ… Read More
As I had never thought about it before now, today I’m realizing how important it is to master the technique and materials I use in my paintings. It is good to make notes and it is good also to photograph all stages of processing. Assimilate as much as possible every kind of experience, as each a painting is different from the previous one and each new painting gives me the opportunity to refine the technique, so that I can always reach what I’ve imagined, dreamed and how I want the painting to appear before signature. The label that says now is exactly what satisfies me and what I wanted. Leaving all this aside, I still ask myself why I’m so attached to the “Vertical Concepts.” There is something hidden in my mind that I do not understand, I only know that those signs, those grooves will be always in my mind, in my imagination, and repeat them endlessly, I will one day, finally, understand their deeper meaning. It is as if canvas after canvas, “Vertical Concept” after “Vertical Concept”, chasing my imaginary, unexpectedly, in a near future, they will magically appear to me crystal clear, and perfectly understandable... even if horizontals. Read Less
At the Institute of Art where I graduated, I followed the Specialization in Design and Architecture. Unlike my older sister Ombretta, and Sara, the youngest, who had followed the section of Painting, I had never painted. Since my early age I have always drawn a lot, but never painted abstract paintings. Immediatel… Read More
At the Institute of Art where I graduated, I followed the Specialization in Design and Architecture. Unlike my older sister Ombretta, and Sara, the youngest, who had followed the section of Painting, I had never painted. Since my early age I have always drawn a lot, but never painted abstract paintings. Immediately after high school I started to experiment with materials and supports to transform and elevate them to what I considered already by then my art. My idea of artwork. My artistic journey began from those early experiments back in 1988. Today, as then, I feel I have to go deeper and deeper into my creative visions and turn them into paintings... I still have a lot to do and still a lot to learn to feel each my canvas as a really and truly work of art... every canvas that I end it seems to me so incomplete and far from being really mature, yet so perfectible. Read Less
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