Domenico Bianchi

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Domenico Bianchi, Untitled (bench)

Carrara marble and red inlay

Location: Villa Lysis

60 x 250 x 50 cm

Short Bio

Domenico Bianchi blends a vaguely symbolic drawing into the sensuous and maternal magma of the wax: a sign of an organic geometry, a vaguely symbolic drawing, a mere ornamental element. A sign which is neither abstract nor figurative, neither metaphysical nor naturalistic, nevertheless being all these things at the same time. Bianchi's drawing also indicates a force, a procreative action which is born and spreads in the wax, a bright and sensuous matter from which the painting is born, both as structure and image. As a matter of fact, the wax is the place of gestation, of transmutation, of solidification and resonance; a place made of solid physicality and inescapable brightness. Each painting comes from a complex process: it is vision, imagination, construction. Bianchi reaches and rejoins the microcosm and the macrocosm, the finite and the infinite, the earth with the universe, the individual unity with the infinite matrix. The dimension that he creates is as translucent as amber and as fluid as honey, entirely permeated with and crossed by energy: a thick expanding depth, whose immensity is held in the centre with concentric drawings, or contained inside the frame with grills, plates, regular planes often overlapping curved surfaces. The light looks incarnated and, at the same time, it acts as an image generator and amplifier. According to Bianchi, the painting is the existing cosmos and an expanding placenta. For the viewer's eyes, the work looks like ever-existing and, at the same time, in transformation, as proven by the drawing evolving inside it. The transparency of the wax and of the glass fibre, along with the embedded thin palladium sheets, inspire the invention of the shapes, the changeability of the shades of colours, the definition of the space to the artist. Through carved or scraped signs, the works displayed by Bianchi between 1985 and 1987 also use plaster to outline the structure of the work. In Bianchi's works, the image is made of a sign, which is always the subject of the painting; an almost transparent central core which generates the shape and refers to endless ideas of images; a sign which remains true to a leading and fundamental sense but it opens to its endless variations. Already in 1989, during the exhibition at the Rivoli Castle, he started to transform the two-dimensional drawing into a spherical shape by using the computer, although he was not interested in the technological results but rather in the endless shapes that this sphere can take. It is worth reminding that in 1992 Bianchi participated in the 3rd Biennial at Istanbul and, in the same year, he participated in the collective exhibition Terrae motus organized by Lucio Amelio in the amazing spaces of the Royal Palace in Caserta.