Arts gallery MAATGALLERY

Autonomous and absolute « zero-shaped » paintings

Lino de Giuli sees his painting like a river which collects influences, experiences and desires. The artist's tools look like an aesthetical alphabet, which matures and goes wider through time.

Filled with Renaissance's Italian grand masters' pictural poetry and techniques, he explores the textures and colours he wishes convention-free. As opposed to rigorous shapes, specks have to be able to live and breathe.

At « zero-shaped » level, he tends towards a pure painting without any narrative artifice. The painting must not illustrate a speech, but rather confront the « watcher » to his own experience. Scratches, flat tints and spontaneousness of the creativity all participate in the "media" canvas that upsets and interrogates us.

Shifting brutally to the abstraction

After having explored the fields of figuration, such as animation drawing and advertising illustration, he starts to feel the limits of academic formalism.

Conscious of being confined in story-describing spaces and characters, he then opts for the side of saturated colours that find their expression in the right shape.

Meeting with Malevitch's black square on white background confirms him in his opinion that traditional composing should be rejected. « It's only once consciousness' habit, consisting in seeing in paintings the representation of nature, madonnas or unbashful Venuses, disappears, that we'll see the pictural work. » Kasimir Malevitch

Paradox's personal game

On a canvas where contradiction and confrontation flirt together, the colour saturates and evaporates as much as the right shape become independent. These elements organise themselves throughout the artist's will who associates to his creativity a random gesture.

In a suddent conquest for space, the painting thus frees itself of the formal and temporal frame. This eternal quest aiming at breaking the chains of the chassis, will be enlighted by an installation made of painted elements.

Brice Beaurain