ROBERTO CALBUCCI

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ROBERTO CALBUCCI

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Studio 2011

ON THE PERSPECTIVE is the title of a pictorial project developed from 2011 to 2014 that is composed of 56 paintings, communicating and uniting through one unique expressive line. Born placing the roots in the thought of what painting is in their representation and structure, in their internal dynamics, in the preexisting and primitive form of thought and vibration, gesture and material. In a process of the "origins" of painting, the consequent development was to put in relation, on the surface, the essential elements of pictorial representation, which are the material, the sign, the line, the "natural form" and the "pictorial touches", in their primary nature, conceiving an "open space" without descriptive perspective obligations, in free dialogue between the parts. An autonomous pictorial cycle and auto-referential of making paintings, in the joining of concept and gesture, in balance along the border of an ambiguous mimicry, in an adventure of representative research concentrated on itself in its own expressive elements.

The nature in the mystery of form and light, in the idea of pictorial spaces of vibrant surfaces, leaving the form independent from the mass of color... "where does the perspective go?" Built in the autonomy of a language that doesn't need to compare itself with anything except for its own internal variables independent from every strict naturalism and has its own reason to exist. The paintings articulate their specific nature of language, through their own expressive elements, in an auto analytic effort to redefine their dominion, the sense of their own essence.

CANVAS

Studio 2013

CANVASGLASS

Studio 2014

I have simultaneously faced the project with one more conceptual and minimalistic intention, and another more expressive, expressionist and "romantic"; combining both in one creative magma, researching the identity of the painting, investigating inside the "under-material", in the horizon and in the horizons, between signs of construction and subject-signs. I wanted to strip the image from its own ambiguity, giving sense to the act of painting in the essentials, elevating the extraordinary metaphysical effect contained in the painting. Through a continuous dialogue of removal and addition of pictorial material, "writing" with an alphabet of uncertain impressions and pictoric touches, the "painting" reveals itself in its own expressive way.

upsidedownme3

Studio 2014

Taking the street of research between different layers in which the surface is made and creating a dialogue between the various layers, through them, the painting acquires its own identity. The atmosphere with pictorial memory is fixed in the impression left from the material removed from the painting; an impression of an unrepeatable passage. The lines of multiple perspectives and natural shapes, the signs, the joining of the signs and between the signs, and the pictorial material, all appear.

The paintings are realized in a "performative act", with an "archeological" relationship of discovery of the structure of construction of the representation and abstract perspective planes. Art = Art, Painting = Painting until the implosion for a new creative beginning, in the free gestion of a painting that is looking for the structure in the vibration of the light and the form "lost" in the construction of abstraction. The painting is the subject, expressed through the sign, like a trace of the generating impulse in one total chromatic cosmic space. With a free appropriation of the representative identity the paintings have developed declared impressions as of "landscapes" and "maps".

Studio 2011

Landscapes that don't try to reflect nature, producing mostly a structure that is overlapping the visual experience of the scene. Interior landscapes of impalpable places delineated from many and diverse and impossible perspectives (of the creative vision) and represented from many, diverse and possible lines for directions of more simultaneous perspective horizons. Here the perspective is all internalized and is not explicitly represented.

A perspective of research that explores the vision, in the perceptive approach of "real-mental", in the "visual-emotive" instant where "art is illusion of displacement, illusion of freedom, and illusion of sacred" but concrete vibration and plastic sensation. Line of horizons - many horizons. Mental perspective. Moments of representation with traces of diverse perspective planes and lines of horizons for multiple dimensions.

water1bw

Outside the Studio 2013

"Maps" for a geography of concept, to find the way, that searches the pictorial direction in the losing of orientation, imagining a meaning of place-painting. The abstraction becomes an emotive map, transversing spaces full of representative intentions and dialoguing between the internal and external order of the painting, in the experience of primary constructive elements.

The gestures as a possibility to find continuous extension and movement in the pictorial surface, where the hand moves freely without descriptive obligations until arriving sometimes to a gesture and color that acquires more composure, an organized structure that gives the possibility to "locate" and "construct".

The paintings express themselves with linear chromatic intention, because conceptual, in the idea of neutral color that is not the protagonist subject of narration but "material of thought" in an aesthetic conceptual space and of color-idea without invasive chromatic voices. A dialogue between the parts, between the paintings, and the internal elements of the painting, signs, forms, lines and traces in the abstraction itself. Alphabets of pictorial touches for multiple languages and narration for stories of free interpretation. The lines and the chromatic masses in relation between the forms, combined in a particular way, soliciting the flux of an emotion.

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WORKS ON CANVAS

In this production of works, it is complicated to describe the materials used for each painting because it is mixed material which was applied using various formulas for each canvas and many of the paintings were in progress at the same time resulting in many layers of material in each work. In the description under each painting, oil and mixed media refers to a combination of oil mixed with other materials such as calcium carbonate, graphite powder, charcoal powder, marble powder, wax, ink, graphite pencil, resin, natural pumice and some other materials. The support is linen canvas and some contain sewing to join segments together. The dimensions written under each painting are rounded to the nearest centimeter or fraction of an inch.

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