Introduction

The paintings of the Artist Claudio Martinesi were exhibited at the “Vicolo Gomma Gallery” in Rimini.

Claudio Martinesi’s painting is on the border between metaphysical and surreal, in an extremely personalized choice for those expressive motivations that we could legitimately define as “message of geometric forms”. These are formal proposals that disregard the usual figurative relationships to constitute attitudes of taste and culture that can certainly be interpreted as an aesthetic definition, a synthesis of images of objective interest in terms of intense, emblematic individualism.

This inner reflection in the description of dilemmas and truly universal themes is highlighted in the same dramatic potential of volumetric and tonal research, in the spatiality “expanded” to the extreme by the tension of surprising and unmistakable colors, in the deliberate and constant shattering of one’s own reality that is therefore available in every canvas with poignant, controversial, metaphorical logic.

There exists in him, beyond the normal surreal baggage, a perspective sense that instead of limiting flips them on their head, the geometric planes, redefines them according to intimate interpretations, often to suggest chronological and conceptual successions beyond which uncontaminated horizons or — perhaps — ultra-technological proposals of solitude and chilling truths are foreshadowed. 

The apparent static nature of certain images of his marble human structures into representative groups, and at the same time charges them with symbolic values in an unprecedented, magical expressiveness. The colour is often violent, as if to escape the conditioned brushwork of a current mannerism, in the contradictions and dogmas of his time. Deconcentrated and then recomposed by way of dialogue, it becomes the essence of an evocative personal touch, even before expressing tonal relationships or monochrome brushwork on those different light-effects that are so closely linked to the artist’s own dimension. 

However, in the soft colors, Martinesi gives perhaps the best of himself: I think of a soft grey in different shades, a pale green and a bird that falls, splitting in half according to a psychological sense that the optics of color, completely, imposes. His brushwork is flat, inspired also by the need to support geometric settings whose figurative complex in the symbolic story also contains transparency and opacity almost torn from classic paradigms with singular, authentic formal dedication. Fantastic insights introduce figures disconnected from the silence of his worlds, yet in ecstatic contemplation in the cryptic, deliberately human traits, “mediator” between himself and his own creative spatiality.

Perhaps they are waiting ghosts, as if, in composing, Martinesi nurtures behind the scenes of his spirit the poignant melancholy of vanished natures and a truth that no longer exists  Giulio Panzani.  

To speak of Martinesi as a painter means, first of all, to speak of him as a man in the broadest sense of the word. Expert of the human soul and sensitive and attentive scholar of the psyche as a forge of torment, emotions, memories, and existential anxieties. He makes of his painting an open and colorful page depicting what he meets, discovers and analyses along his journey as a man. Thus, are born on the canvas figures of women who emanate from their whole a living dynamism, while preserving the simplicity and calmness of something ancient that makes them creatures beyond the mockery of time and space.

He exudes from those images the conflictual and sometimes violent search for the soul of the painter, who seeks and gives sensations of freedom and wonder as if the artist had improvised himself a singer of fairy tales and illusions. 

.But he who knows well the fragility and the profound transience of dreams often translates reality and chooses as a scenario to his stories the corners and interiors similar to labyrinths. They seem to want to repress the vital explosion of the painter, but the impression lasts a moment. At the end of that maze of corridors there is always a triangle of light that is the seed of triumph and the overwhelming victory of light over matter Giulio Panzani.