Unfathomable are the ways of trapping insoles for an artist in course of ripening! More or less two decades, since the artistic inclinations, plastic began to take in preference of painter Guido Boletti, the condition of language and more important appropriate, to the detriment of others, just the music, he is holding a fight for them even in the constant quest for purification and the stylistic effort to filter the juice and the synthesis of influences considered - and here especially Klee, Kandinsky and Miró - Then, after many fencing along those traps, the inveterate inventor of symbols come to a stage where the figuration something esoteric to overcome abstract of the topic, more strikes, so splendid a own language and mature in its formalization and in its scope.
This phase appears to be evidence in all of the works assembled in this exposure, of which some profiles below. Don Quixote seems a galactic figure that part of a spiral lower and the other mass gigantic (the galaxies are not the same as almost always spiral?) recorded in his armor bringing a language enigmatic figure, the ask the world a little more candor and no violence (not for nothing that the Guido has a well before, that leads the way Song for peace, song for us). Apart from the knight and his steed of horsehair burned, left us the coding abstract the case maybe a dream impossible to achieve, it is utopian. Another would be to message of the fire horse, with the difference that their function, rather than in a random, occurs in the here and now. Goes sky outside it, such a Pegasus without wings, bringing the body the same appeal for peace and poetry cipher, we saw in Don Quixote, but the city at a distance, deep in the night blue, does not have enough wisdom to understand it (speaking for myself the threats that the greed of men is subject to air and others little things more). The synthesis is universal so blatantly, that the spiral here abound in over two dozen!
Therefore, through you to bring the music, a piano, one night, a music and other warm and lyrical as dreaming, as sound is the soul of this artist, arrived and the Temple of Iara Young Shaman, which I appear as a springboard from which painter and imagination are about to make the big jump. I say this because these two screens seem real finding, meeting, opening to a new universe, which now begins to happen. In the first, Figure of Iara, hair in the wind, a real mask, and his temple whose coverage seems a huge roof, the only references are still hauridas of our visual experience, the rest is an intricate symbolism, whose units are conveniently scattered through space, as if the realization of a divine páutica music, we want reach, from the deepest of time. In Young Shaman, Guido forward a little more in the direction of a abstract universe. The couple, something as a 'Greek Mancebo', virtually the only recognizable figure around the context, eyes closed and concentrated, haure the scent of flowers below for the full lungs, then sprinkle it throughout the universe, as a blessing of beauty.
It closed the last phase of the art of Guido Boletti, transubstantiated
these extraordinary paintings, in which appeal to their experience of music before, when I felt the only musician, is so clearly, I am led to ask: Painting? Music? Painting music? Music painted? I do not know. I only know that our artist found a incredible way to be both musician and painter, drawing these gear, without any betrayal of them, the essential and substantial for the construction of a universal language and divine. From the above, someone might suppose that to the artist, things became easier, as found a formula and just explore it. But far from being well, we know that where there is purification, the pitfalls and become more and more severe, demanding more of the artist, since their concerns are now changing axis, where everything is new to you. And the struggle continues ...
Pierre Santos - Member of the ABCA and the AICA |
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