Antigone
Don Quixote
David
***
SHEETS OF PAPER AND COPPER
On another occasion, I wrote that "the painting of Patrick White has always accompanied, and stubbornly, writing," because "the word invokes the image as a super-word (over the word), while the image relies on the literary vocation, and finds consolation. There is informal, then: but it is the informal one accustomed always to consider also fully informal speech, and especially the freedom of speech poème en prose. " Now, the opportunity is new and more complex: it is to present the newest sculptures in copper Bianchi. And the critic-curator-collector understands unexpected to observe objects in all directions. Not because the transition to the sculpture is unusual in itself, even in the twentieth century - but because these figures, which are first great literary characters complicate the initial forecasts and demand to be understood. Patrick White's work has always been accompanied by the writing - of which I became a witness, that friend, and professional editors on a case by case basis. Now begins Bianchi abruptly to act on large sheets of copper, and raises them in the form of stable bodies. It is no coincidence that in principle are called sheets of copper, as it comes to sheets of paper. The imagination of the writer sees them immediately as a new medium for writing. In this case, the handwriting, as always in black, turned into an operation of folding and cutting, looking for angles and shadows, without peace, there is almost nothing bloodless writing in painting sculpture of Patrick, which bends matter and the body ("bow lips of my anger": The walled ). Meanwhile, White has gained fully willing to do without bans manly acting here and now. Today David, Antigone, Don Quixote, the Angel (an Angel more Rilke, and so literary, that hagiographic) are installed to stay, with new perspectives: as things and things worth to believe. And the copper is both delicate and sharp: it may hurt the observer and the artist, but a gesture can change many centimeters in one fell swoop - the man and woman recognize exposed in their malleability, which paradoxically becomes body after have been sheet.
On another occasion, I wrote that "the painting of Patrick White has always accompanied, and stubbornly, writing," because "the word invokes the image as a super-word (over the word), while the image relies on the literary vocation, and finds consolation. There is informal, then: but it is the informal one accustomed always to consider also fully informal speech, and especially the freedom of speech poème en prose. " Now, the opportunity is new and more complex: it is to present the newest sculptures in copper Bianchi. And the critic-curator-collector understands unexpected to observe objects in all directions. Not because the transition to the sculpture is unusual in itself, even in the twentieth century - but because these figures, which are first great literary characters complicate the initial forecasts and demand to be understood. Patrick White's work has always been accompanied by the writing - of which I became a witness, that friend, and professional editors on a case by case basis. Now begins Bianchi abruptly to act on large sheets of copper, and raises them in the form of stable bodies. It is no coincidence that in principle are called sheets of copper, as it comes to sheets of paper. The imagination of the writer sees them immediately as a new medium for writing. In this case, the handwriting, as always in black, turned into an operation of folding and cutting, looking for angles and shadows, without peace, there is almost nothing bloodless writing in painting sculpture of Patrick, which bends matter and the body ("bow lips of my anger": The walled ). Meanwhile, White has gained fully willing to do without bans manly acting here and now. Today David, Antigone, Don Quixote, the Angel (an Angel more Rilke, and so literary, that hagiographic) are installed to stay, with new perspectives: as things and things worth to believe. And the copper is both delicate and sharp: it may hurt the observer and the artist, but a gesture can change many centimeters in one fell swoop - the man and woman recognize exposed in their malleability, which paradoxically becomes body after have been sheet.
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