Exhibitions, Italy, Milano, 28 March 2015
Born of the calculated error of empiric experimentation, Tommy Bonicelli’s works express the double metaphor of evolution and change.
Continuous evolution of the artist in his personal and professional growth.
Evolution of time and memory, inseparable from the latter, through the uplifting example of travel.
Image as a shard of the memory of an undertaken trip, of a visual recollection of the visited and lived location, that doesn’t vanish or become corrupted but continues to live in the eternity of memory.
Accomplices of this immortalization of mnemonic images; photography and glue become the main components of Bonicelli’s work. A work which aims at the methodical census of monuments and architectural complexes, recovering with a contemporary twist the similar works of the Alinari brothers in the first decades of the twentieth century.
An identical setting of the angle of perspective through the use of an average to high point of view which tends to confer to the monument an objective connotation; an identical intent to almost catalogue, although this artist’s work is soaked in an attentive analysis of lighting and a profound emotional involvement.
The photographic documentation so obtained is submitted to an accurate reprocessing using photo editing software in order to emphasize the prospective quality given by the lines, optimize the effects of light and shadows and to highlight the architectural details.
Once the photograph is transported to the canvas, the procedure of covering the entire surface with hot glue involves great experience and technique and the peculiar goal of waterproofing the image is obtained.
The rapid drying time forces Tommy Bonicelli to use and bend to his will the physical and mechanical forces of Nature, such as gravity and the mechanical action of wind that direct matter in streams and drops of azure reflections.
Glue as vital lymph, organic liquid that oozes from the photograph; A Noble Coating, viscous and transparent, that once dry, solidifies the memory and embodies in a crystalized image the latent artistic intent revealed and embodied as in the photographic process of printing.
Deep emmotion and tears in fully becoming conscious of having created something that didn’t exist before, of having shown and made into Art what the mind had processed and meant to signify.
The predominant characteristic of Bonicelli’s work is the experimentation and research of matter aimed at the use of different techniques of conservation, resistant to the destructive action of Time.
Lover of liquid and thick paint; water paints, pigments and oil paints left him perplexed at the beginning of his career due to their proneness to immediate physical and chemical deterioration.
The solution to this problem came only with the analysis of the mistakes revealed during the empiric process of trial and error; starting from the problems found during the academic period, he observed how acrylic resin perfectly fulfilled the objective that he had in mind.
Intended as an hypothesis of design for a possible intervention of the reality, Tommy Bonicelli’s works can be connected to the Environment Art in as much as they are similarly studied, in forms, materials and meanings, to be inserted in a particular environment.
Processed in the small dimension of the canvas, the works shoul then be expanded to an environment scale similarl to the Cretti of Burri, freezing the insect/monument in a cocoon of beautiful amber.
By Barbara Morosini.
Continuous evolution of the artist in his personal and professional growth.
Evolution of time and memory, inseparable from the latter, through the uplifting example of travel.
Image as a shard of the memory of an undertaken trip, of a visual recollection of the visited and lived location, that doesn’t vanish or become corrupted but continues to live in the eternity of memory.
Accomplices of this immortalization of mnemonic images; photography and glue become the main components of Bonicelli’s work. A work which aims at the methodical census of monuments and architectural complexes, recovering with a contemporary twist the similar works of the Alinari brothers in the first decades of the twentieth century.
An identical setting of the angle of perspective through the use of an average to high point of view which tends to confer to the monument an objective connotation; an identical intent to almost catalogue, although this artist’s work is soaked in an attentive analysis of lighting and a profound emotional involvement.
The photographic documentation so obtained is submitted to an accurate reprocessing using photo editing software in order to emphasize the prospective quality given by the lines, optimize the effects of light and shadows and to highlight the architectural details.
Once the photograph is transported to the canvas, the procedure of covering the entire surface with hot glue involves great experience and technique and the peculiar goal of waterproofing the image is obtained.
The rapid drying time forces Tommy Bonicelli to use and bend to his will the physical and mechanical forces of Nature, such as gravity and the mechanical action of wind that direct matter in streams and drops of azure reflections.
Glue as vital lymph, organic liquid that oozes from the photograph; A Noble Coating, viscous and transparent, that once dry, solidifies the memory and embodies in a crystalized image the latent artistic intent revealed and embodied as in the photographic process of printing.
Deep emmotion and tears in fully becoming conscious of having created something that didn’t exist before, of having shown and made into Art what the mind had processed and meant to signify.
The predominant characteristic of Bonicelli’s work is the experimentation and research of matter aimed at the use of different techniques of conservation, resistant to the destructive action of Time.
Lover of liquid and thick paint; water paints, pigments and oil paints left him perplexed at the beginning of his career due to their proneness to immediate physical and chemical deterioration.
The solution to this problem came only with the analysis of the mistakes revealed during the empiric process of trial and error; starting from the problems found during the academic period, he observed how acrylic resin perfectly fulfilled the objective that he had in mind.
Intended as an hypothesis of design for a possible intervention of the reality, Tommy Bonicelli’s works can be connected to the Environment Art in as much as they are similarly studied, in forms, materials and meanings, to be inserted in a particular environment.
Processed in the small dimension of the canvas, the works shoul then be expanded to an environment scale similarl to the Cretti of Burri, freezing the insect/monument in a cocoon of beautiful amber.
By Barbara Morosini.
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