Unsearchable are the traps of the ways trodden by an artist in the direction of growing up! For about two decades, ever since the artistic and plastic slopes began to take on the painter’s preference Guido Boletti, the condition of most important and appropriate language at the expense of others, such music, he is waging a struggle itself himself in constant pursuit of stylistic clearance and the effort to filter the juice and the synthesis of influences taken – and here I refer mainly to Klee, Kandinsky and Miro – behold, after so many esgrimas along said traps, this incorrigible inventor of symbols reaches a stage where, figuration something esoteric to abstractive overcoming the subject itself, manages to get in splendid way, its own language and mature in their formalization and in scope.
This phase reveals to the evidence in all the works gathered in this exhibition, which then perfilaremos some. Don Quixote looks more like a galactic figure, part of a smaller spiral and heads to another giant (galaxies do not even have the form often spiral?), Bringing recorded in his armor one cryptically coded language, asking the whole universe one little more candor and no violence (not for nothing that the Guido himself has a well above table, which carries the title song for peace, song for us). Lifter rider and his horse’s mane burned, will remain us to abstracionist encoding refers to a dream if not impossible to achieve, for utopia. Another would be the message of the fire horse, with the difference that their function, rather than a random space, takes place in the here and now.
He moves around the sky, about a Pegasus without wings, bringing the body the same appeal for peace and encrypted poetry, which we saw in Don Quixote, only the city in the distance, asleep in the deep blue, does not have enough discernment to understand it (I speak for the threats to the greed of men is subjecting the atmosphere and more other little things).The universal synthesis is so rampant, that spiral here multiply in more than two tens!
Hence, through’ll take the music to you, a piano, a night, a warm music and other so lyrical and dreamy, as sound is the soul of this artist, come to Temple Iara and Young Shaman, which strike me as a springboard , where painter and imagination are about to take the big leap. I say this because these two screens seem real find, meeting, opening to a new universe, which now begins to happen. In the first, the figure of Iara, hair blowing, a real mask, and his temple whose coverage is more like a huge tile, are the only references still had imbibed of our visual experience; the rest is an intricate symbolism, whose units are spread conveniently through space, like the páutica embodiment of a divine music, that wants to reach the deepest coming times. In Young Shaman, Guido goes a little more in the direction of a abstractionist universe. The young, something like a ‘Greek youth’, about the only recognizable figure of the whole context, the eyes close and mindedly, draws the scent of flowers below, for, loudly, spatter it then by all universe as a blessing of beauty.
Here ends the last phase of art Guido Boletti, transubstantiated these extraordinary paintings, in which the appeal to their musical experiences before, when still felt only musician, it is so evident that I am led to ask: Painting? Music? Painting to music? Painted music? I do not know. Just know that our artist found an unprecedented way to be both a musician and painter, drawing these arts, without betraying any of them, the essential and substantial for the construction of a universal and divine language. From the above, one would assume that maybe, for the artist, things became simpler since found a formula and just explore it. But far from being well, we know where there is clearance, traps become much larger and more severe, requiring more of the artist, because their concerns now will change axis, where everything for you becomes new.
And the struggle continues …
Pierre Santos | Critic, Member of the ABCA and AICA