FROM REAL PLASTICITY TO SURREAL REALITY, or the boundaries of painting amid the infinity of space
Svetlin Roussev
Being an artist of suggestion in the main, Roberto Bosisio is hard to attain and comprehend using universal ways of analysis.
In the course of a decade he has travelled a road that gives meaning to a complete cycle of artistic growth: from fixed plots structured by interiors, on to an artistic space in which vestiges of tangible detail represent more a daydreaming memory than tangible objectivity. The open door in the solidly built architectural environment in earlier works is above all an entrance leading to something that should exist beyond all things definite – something eerie, mystical and only half-uttered.
Moreover, works from recent years are telltale of earlier pieces and their subliminal semantic nature. Now interiors are a mere memory, a dream dotted with some sort of nostalgic spells, with things gone where figures live in an imaginary space and serve symbolic functions. The form exhibits a delicate inner structure evolved to a vision of a something through which time has passed and has taken away the outer appearance to only leave spiritual plasticity in its stead.
With Bosisio, space breaks away from its tangible contours. A refined experience with plasticity and an elevated modern thought move about in an eerie psychological environment in search of the truth about the world beyond the knowledge of plasticity on this end. Inhabited with plasticity, this is not the classical illusory space but rather a space of human conditions, of the private mental and emotional climate – a space measured by the motion and quality of thought and by the speed of an elevated spiritual conscience.
Roberto Bosisio’s art of painting displays a kind of Renaissance quality in the plastic Sfumato coupled with structural modernity in its inner structure – a point of harmony between the cheating infinity of space and the beautiful poetics of something that has been and might continue to be after us.
Being an artist of suggestion in the main, Roberto Bosisio is hard to attain and comprehend using universal ways of analysis.
In the course of a decade he has travelled a road that gives meaning to a complete cycle of artistic growth: from fixed plots structured by interiors, on to an artistic space in which vestiges of tangible detail represent more a daydreaming memory than tangible objectivity. The open door in the solidly built architectural environment in earlier works is above all an entrance leading to something that should exist beyond all things definite – something eerie, mystical and only half-uttered.
Moreover, works from recent years are telltale of earlier pieces and their subliminal semantic nature. Now interiors are a mere memory, a dream dotted with some sort of nostalgic spells, with things gone where figures live in an imaginary space and serve symbolic functions. The form exhibits a delicate inner structure evolved to a vision of a something through which time has passed and has taken away the outer appearance to only leave spiritual plasticity in its stead.
With Bosisio, space breaks away from its tangible contours. A refined experience with plasticity and an elevated modern thought move about in an eerie psychological environment in search of the truth about the world beyond the knowledge of plasticity on this end. Inhabited with plasticity, this is not the classical illusory space but rather a space of human conditions, of the private mental and emotional climate – a space measured by the motion and quality of thought and by the speed of an elevated spiritual conscience.
Roberto Bosisio’s art of painting displays a kind of Renaissance quality in the plastic Sfumato coupled with structural modernity in its inner structure – a point of harmony between the cheating infinity of space and the beautiful poetics of something that has been and might continue to be after us.
