Exhibitions, Italy, Grosseto, 24 August 2013
Max Gasparini is an artist who has had the courage, in the course of his artistic life to get involved, to revolutionize the power of imagination to make his art not only in the seen and in its representation, but also in the media that in its works becomes a real magical space where the idea takes shape, line, form and color.
He is the son of the fair ground Brescia, but its genealogical origins are from Treviso of Giorgione, not the case, and from Brescia takes the simplicity of those who can see the wealth in poor things, small mottled color in the material eroded by time and times, from a surface peeling off by wind and water in the gutter.
His figures are true revelation, the color that he lays reveals an area that seems to already contain the form as if, in neo-Platonic sense, he should not do anything but allow the image to reveal and celebrate the mystery.Each of his works is like a poem that has not been written y
That's why you need a contemplative attitude, dialogue and support between art and inner thoughts, to dissolve the layer of evanescence that with his art making become immanent, more rational than real. et. Behind the form, as well as the visible sign shows the contents of which eludes the senses.
What the artist produces is not a representation of things seen, but a representation of what his conscience he lived, his mind holds, recalls and stored. The brushwork is nothing more than the necessary bridge because the surface is transmuted into the archaic female who revealed the cosmos because “ is the woman” in the painting of Max the key that acts as an intermediary between the transcendent and the immanent.
It is a figure with no time or times, is an absolute beauty, proud and austere. In front of the femininity that he paints it turns out there finally be able to see beauty and eros together, almost as if the gods, Aphrodite and Eros, chose this artist to finally break the aphonia that invades the minds of the people of this time and finally distinguish the view from the watch.The attitude that requires his painting is the "dynamic contemplation", ie let the figures speak to the soul so that we can then continue the journey with more vigor. It is an attitude made of energy, silent dialogue, the same as the philosopher and the artist (or certain artists).
It is the energy of those who stop in front of the world, who suspends the action and attempt to resolve the ongoing issues of doing, uncertainties in the "conventional" meanings of things. So Max Gasparini investigates the real with the eyes of those who likewise seeking "other", with the restlessness of the listener the need to seek, find.
He builds his images in such a way that the fund itself, becomes a kind of plot that is in harmony with the warp, the figure. Gasparini is a poet who uses painting as if they were sentences.
His work on making art is a reality in a process of unveiling, demolition limits turning depths of the beholder the same philosophical disquiet in the wonder that asks questions, one is fascinated by the work and be free to perceive the invisible . Formidable when it is cleverly reworks citations neo renaissance because the mink in the perception has become immanent parameters. Each of his painting is a link between the immanent and the transcendent of the beholder with making art that becomes perceptible in the evanescence of a wise painting, in which the technique is bent to the right of feelings. Outstanding are the works of sheet metal and canvas dappled water, bent and ribent, as if the painter was Chrono which marks matter indelibly. It is in these works that the fading becomes immanence and vision finally play with feelings.
The images of Max Gasparini have this peculiarity that makes his talent real communication amending the perception and opens the consciousness to something else, an image that of Max Gasparini that does not just imitate reality but in its transmutation of surface refers to an internal investigation sometimes symbolic, recalls the world not represented, in the poem that has not been written yet.
Alberto D'Atanasio
Professor of Art History and Aesthetics of non-verbal language
He is the son of the fair ground Brescia, but its genealogical origins are from Treviso of Giorgione, not the case, and from Brescia takes the simplicity of those who can see the wealth in poor things, small mottled color in the material eroded by time and times, from a surface peeling off by wind and water in the gutter.
His figures are true revelation, the color that he lays reveals an area that seems to already contain the form as if, in neo-Platonic sense, he should not do anything but allow the image to reveal and celebrate the mystery.Each of his works is like a poem that has not been written y
That's why you need a contemplative attitude, dialogue and support between art and inner thoughts, to dissolve the layer of evanescence that with his art making become immanent, more rational than real. et. Behind the form, as well as the visible sign shows the contents of which eludes the senses.
What the artist produces is not a representation of things seen, but a representation of what his conscience he lived, his mind holds, recalls and stored. The brushwork is nothing more than the necessary bridge because the surface is transmuted into the archaic female who revealed the cosmos because “ is the woman” in the painting of Max the key that acts as an intermediary between the transcendent and the immanent.
It is a figure with no time or times, is an absolute beauty, proud and austere. In front of the femininity that he paints it turns out there finally be able to see beauty and eros together, almost as if the gods, Aphrodite and Eros, chose this artist to finally break the aphonia that invades the minds of the people of this time and finally distinguish the view from the watch.The attitude that requires his painting is the "dynamic contemplation", ie let the figures speak to the soul so that we can then continue the journey with more vigor. It is an attitude made of energy, silent dialogue, the same as the philosopher and the artist (or certain artists).
It is the energy of those who stop in front of the world, who suspends the action and attempt to resolve the ongoing issues of doing, uncertainties in the "conventional" meanings of things. So Max Gasparini investigates the real with the eyes of those who likewise seeking "other", with the restlessness of the listener the need to seek, find.
He builds his images in such a way that the fund itself, becomes a kind of plot that is in harmony with the warp, the figure. Gasparini is a poet who uses painting as if they were sentences.
His work on making art is a reality in a process of unveiling, demolition limits turning depths of the beholder the same philosophical disquiet in the wonder that asks questions, one is fascinated by the work and be free to perceive the invisible . Formidable when it is cleverly reworks citations neo renaissance because the mink in the perception has become immanent parameters. Each of his painting is a link between the immanent and the transcendent of the beholder with making art that becomes perceptible in the evanescence of a wise painting, in which the technique is bent to the right of feelings. Outstanding are the works of sheet metal and canvas dappled water, bent and ribent, as if the painter was Chrono which marks matter indelibly. It is in these works that the fading becomes immanence and vision finally play with feelings.
The images of Max Gasparini have this peculiarity that makes his talent real communication amending the perception and opens the consciousness to something else, an image that of Max Gasparini that does not just imitate reality but in its transmutation of surface refers to an internal investigation sometimes symbolic, recalls the world not represented, in the poem that has not been written yet.
Alberto D'Atanasio
Professor of Art History and Aesthetics of non-verbal language
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