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The Poetry of Spontaneity
The surrealists deny the rational form because when represented,it has an intellectual structure. They choose the image because with its inconsistency and transience it reveals the anarchy of the subconscious. Also Kandiskhji in 1914 tries to go back to the research of childhood impulses, of primary forms and figures.
But those who look for the essential, be they surrealists,or non-figurative, or calligraphists, have already a rational, reflective, regulating scheme within themselves. Therefore theirs (and ours) is the retrospective of a process, not the representation of a still primeval world. The rational, well ordered and educated present has filtered the experience of what has been and of what it might be if there weren’t the superego.
As a matter of fact one thing is to accept the principle that the Ego is not a master in his own house, another thing is to do without the Ego. How things have taken place is not a part of a process confined in time: it is what I actually live interpreting it again. How things happen it is a constant rielaboration of endless experiences.
This is more or less what I was thinking about while looking at Luigi Marchesi’s painting in his studio,being aware of the references and limits of abstractism in the last century.
There is something new. Ours is the era of new physical hypotheses, of the genoma and DNA, but also of the falling hope of being able to plan reality rationally.
Luigi Marchesi realizes that his works are the most suitable expression of his inner self and of the present time more than any other project of composition. The perspective seldom appears.There are instead hints of a biomorphic world and the canvas becomes a display of colours, connections, interpretations of sounds and sensations of the non-language.
The watercolour technique has speeded up the execution of the acrylics. The canvas is not a projection plane on which an image imitating reality appears, but a sensitive screen intercepting impulses.
He says he loves Pollock which is understandable, but also Mondrian who translates even the equation into an image, so proving that the most abstract writing, algebra, is an image. At this point the transfert onto canvas or paper doesn’t seem to be achieved. And yet it’s only an apparent contradiction for those who take it into the right account: it is not possible to withdraw from existence and its processes. At a certain point the regression-revelation mediated by the Ego comes to a stand. Also the estatic condition takes a cultural form. Existence is also awareness of its historical processes and the research of an authentical expression stands out thanks to them. For this reason Marchesi like all painters who look for authenticity, must go through the paintings, the balance of colours, the assonances and dissonances which become a sign. All this is the product of culture: the utopistic poetry of spontaneity, as a large part of last century art shows, meets the ethics of watching, evaluating, appreciating and being appreciated.
Umberto Gavinelli critico d`arte
Parlare della pittura di Luigi Marchesi significa affidarsi al percorso del colore che nasce, si nutre e cammina nella completa libertà.
Colori che si espandono e si fondono sulla tela, guidati o talora, senza controllo, assecondando la casualità. Ricerca continua di equilibri, armonie, corrispondenze e contrapposizioni tra gamme tonali e masse complementari. Questa è l'"apparentemente semplice", solare, struttura della pittura di Marchesi.
"Libertà raggiunta" e costantemente consolidata, nel gioco estremo ed essenziale del dipingere, luogo in cui l'autore "reinventa" la vita: cercando di trovare significati che esprimano, attraverso immagini archetipe di forme e ritmi astratti, la parte meno razionale, dell'esistenza.
Sensibilità tonale e competenza tecnica permeano quello che non è più solo gioco, ma diventa segno universale: timbro tonale che libera l'emozione di chi osserva. Marchesi, con intensità lirica e determinazione, percorre uno straordinario e personale viaggio, nella parte più ssegreta dell'immaginario, donandoci forme e colori che si evocano l'un l'altro, come dinamici elementi primari, dipinti nel cosmo.
Claudio Ferri Direttore Fondazione Biblioteca di Via Senato, Milano
Nella sintesi globale dei contenuti, si evidenzia la vera creazione originale dell'artista che riflette le cose viste nel sentimento fondamentale, che è il mondo del suo pensiero, espresso con raffinatezza cromatica e sensibilità tonale. Opere dunque in chiave eminentemente simbolica, che si risolvono nell'individuazione e nell'evocazione ludica di immagine archetipe [...]
Vincenzo Castelli
[...] la creatività di Marchesi consente di immaginare geometrie lievi e profonde allo stesso tempo, dolcemente assemblate in giochi di colore unici, a volte tenui, a volte dirompenti, nella continuità di movimenti ondosi tendenti all'infinito [...]
Paolo Pisani
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