submitted on Sun, 02/03/2008 - 04:03 in Andrea Bianchini Portfolio by andreabianchini 
In his painting and traditional oil techniques, Andrea Bianchini truly creates a performance. The clean, dense background painting make one think of China ink graphics on paper. This sign, in only a few strokes, makes incisive figures. In so doing, it draws attention to the depth of cracks in wood engraving and the transparency with which the negative-positive contrast is exasperated in reflecting the photographic effect of backlighting. All of this exalts plain painting with smooth surfaces, so much so that it seems to generate itself as opposed to summation of colours, materials, and an inverse, subtracting process. Its essential character not only uses special methods, but also uses the reduction of figurative themes. Indeed the artist never stops his description. It is enough for him to revive the climate of a situation by revealing the account of every superfluous element. As such he also corresponds with synthesis from a chromatic viewpoint. This highlights the exclusive referents of the main colours – white, red, yellow and blue – of which the dual-name white-blue appears fundamental to his personal monogram. On the contrary, the white (the non-colour par excellence) stands for absence and the heightening of perception to incarnate the most intriguing aspect of this painting style. It is the only one that allows the collection of depth perceptions and slight textures, such as imperceptive crests of some recent sea waves that guide the attention towards infinity. Here white is never emptiness, but light waves onto objects. Andrea Bianchini often bravely entrusts large parts of the surface for visual narration. Dazzling images spring forth where the light is the absolute and strong protagonist. It determines subtle shadows designing geometric arches, vibrations of form in movement, suggestions of space, and invites one to guess what it not revealed. It is the metaphysical ingredient of these fragments of reality, of human meetings, or of moments with nature. This is how these moments come from the most private and intimate observations of the artist in the glow of memories, for which visual memory is the most emotive. Critique by Roberta Fiorini
