Albino Ripani’s masterpieces are closely attached to my soul with their numerous surfaces and I can no longer
distance myself.
The soft and sinuous mark, rich of filaments leads us through a magma on the painted surfaces that shows the
feelings and passions that animate it.
Strong passions that cannot be negated from their own elevated nature, which is rare in humans.
The magma of these paintings, very light in their consistency material dreams.
The attitude to experiment with the curiosity to go beyond, the pride of stealing from his own tools: brushes,
spatulas, canvases, colors; the strength in restarting from the surfaces of a painting already finished or to destroying a completed opera.
This is the shattering and strong personality of a man, an artist, deep in his soul, in his thought and in his person.
From the figure, now far away in the time with forty years at work in these months: this personal style of his, not only in the hand but also in a unique mind that is traversed from Art in more senses that intersect them
In his life, Albino Ripani has done everything, especially live, and intensively: and for this man, intelligent and
senible, living is something extremely tied to work, and artistic production, and movement. Painting has been the leit-motif of a life dedicated and lived for sentiments, the love the affects the friendships. Painting has often been taken, left behind, picked up, used, lived, repudiated, satisfied, in order to to not take advantage of it or oneself.
Loved like a beautiful woman, and escaped like a vice for the distorsions with which we often perceive it in stinking environments, even if they are marshed and reputed or such reputed."
A Neoastrattism that emerges and comes at last swept up from the magma of the imagination and in which
dominates the line, the sign, the filament, a redundant and which released undulation that lightly connotes the work supporting and submergeeing the color nearly in the distance.
But what strikes of this Neoastrattism are the very smooth surfaces at "tromphe the oeil" that engage with the
observer a contest to the iperrealism, to the "false truest one of the true one", to the not completed from human hand but a technological game of a machine.
And in these canvases from the smooth surfaces where marasmus of matter whirlingly combine, now even light
leaks out which the maestro himself introduces and incredibly creates, in the abstract, in the threedimesionality.
With this going and coming from a bidimensional to a threedimensional that the Author tightens and loosens the "coulisse" that ties him to large artistic thoughts that he knows without knowing; that he hears without knowing and that he impastes in himself and in his genes composed of molecules of Art to the pure stamp.
Japan and Gustave Moreau, Klimt and the metaphysics.
It emerges in these messages, but they are ephemeral sensations and totally temporary because that of
Albino Ripani is a unique and personal inspiration, continuously researching of something further, from thought to the next gesture.
An incessant becoming that is for him the same reason of life's reason.
Emanuela Catalano
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