The one who writes about figurative art, notices that most critics as well historians’ statements are full of words and concepts drawn from musical vocabulary. Not only does this put in evidence figurative art as lacking of specific vocabulary, it underlines the affinities existing between figurative and musicl expressions too. Nouns like “harmony”, “composition”, “tonality” would recur in catalogues’ prefaces, essays and studies dedicated to painter, above all to those ones whose familiarity with one or more musical instruments is deduced and whose art sub-intends (if not properly proves) an interchange between musical and figurative experience.
Well, on this subject, we would remind ourselves of Ingres (and his fiddle) as well as of Leonardo (who seems to have had great interest in musical instruments) but most of all, on talking about Guido Boletti, of Paul Klee and Wassily Kandinsky as “echoes” of these two great masters recur in his work. And he is keen on music as well.
After being conceived and before being performed music needs to be written down (the only exception would be the improvised one); after conceivement painting only needs to be performed. Far from stating the superiority of one art to the other, this just wants to point out the factual differences in the realization of musical and figurative “images”.
I don’t want to justify Guido Boletti for being both musician and painter. His music actually takes part of his painting: the chromatic structure of his images is perfectly “counterpointed”, lacking disharmonies and the rhythm of his marks/symbols ha well-balanced “cadenzas”, well-distributed in spontaneous gesture, thus reminding everybody of the painter’s shympathy for jazz music. His fragmentary images, the employ of different means and instrument make his painting not only spontaneous but much more a necessary, urgent, “survival” one.
The formal conception of each of his works moves from a central nucleus and would spread over (in absence of bounds) to the infinity according to the same structure. Even if Boletti’s works could remember the wild underground graffiti, it is the visionary essence of his art which captures, resulting sometime in favorable, ritual marks, dreams, deep confessions as well as in psychoanalytic analysis.