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Brocchini Luca

Published by LucaBrocchini on Saturday, July 7, 2007 - 16:49:32

When observing the complete range of LUCA BROCCHINI’s works, you can easily spot great cycles in sparkling and constant mutations, like variations arousing and slowly changing. About these variations we must therefore use the term “coherence” or, even better, harmony, because the constant comparison with Music always allows us to individuate each single work, in the different relationships with the support surface and with the environment where they are collocated. Painting compositions fully characterized by sign and colour: surface compositions
On this surface, somewhat so strange – but we know artistic experiences in this century stated the complete expressive and linguistic freedom – and not in this interior, Brocchini’s tale takes place: a lyrical, sparkling, sunny tale rather than a sombre, intimate and dark one. As a consequence, the author’s choice was forcedly addressed to anti academic materials, as poor as the support itself is, and of an immediate deciphering, with a winking link with their collocation, both visibly and linguistically credited. It is obvious these choices are completely cultural ones, children of our time, as witnessed by import references of the past (between the Second Futurism and the New Dada ages) and present (from the “Generals” by Enrico Baj to the great “Woods” of Roberto Crippa, from Julian Schhnabel to the works of themselves). Colours has an immense and global value, used as it is to saw irregularly together the “campiture” and the minimal thickness of clothes and trimmings and more recently the trasparency of polycarbonate, where the materials substance becomes sign, cipher, writing and wit Brocchini is able to reproduce in is reach repertoire of scraps, samples, wefts, warps, consistency, and also different pliability, in a condition of perfect (and poetic) dialogue with the surfaces they interact with –last but not least the wall, really unpredictable but always punctual. In this ground and on this direstion (the pratical-sensible one) will find a real sense the renewed values of deepness and balance, the values of composition, light and timbre, willingly simple, not noble as it is formally carried out as a shape, allowing, by its deliberate roughness, the most complete and responsible artistic freedom. We could say,the achieved happiness, enjoyable in this goals in the glorious search of a vacuum becoming colour, giving the possibility of crossing the entire work, thus conjugating an “over there” with an “over here”, thtough ourselves, true spectators of these works of art. Giandomenico Semeraro