A ben vedere, si tratta di strutture e di oggetti teoretici, vale a dire forme che intendono cominicare una forte idea di spazio, di più che una identità o una funzione figurale, Traina dipinge o mette in scena linee che costituiscono nelle loro relazioni luoghi circolari, gabbie perpendicolari, spaesamenti per lo sguardo, costretto a seguire un ambiguo scatto prospettico di fronte a queste costruzioni improbabili. La probabilità sta nella scultura, fisica e concreta in ogni suo rapporto, ed è un tipo di oggettualità intesa come pura indicazione di spazio e come presenza del tempo. Sono materiali “a disposizione” dichiara l’artista, in effetti il senso di questo recente operare di Traina sta nell’attesa di lettura da parte dello spettatore ma anche nel tempo di contemplazione dello stesso autore. Pittura e scultura ci parlano con i medesimi elementi formali quasi per voler rafforzare il sorgere di uno spazio elementare davanti ai nostri occhi, fatto di strutture essenziale che l’artista va fissando avvalendosi di strumenti che appartengono sia alla superficie sia allo spazio tridimensionale. Qui Traina conduce in modo equilibrato e cosciente tutti i passaggi della sua personale ricerca, dislocando i segni nello spazio come “indicazioni” di un processo in divenire. Claudio Cerritelli The object of the surface In the catalog of the exhibition at the Neon Gallery, Bologna 1989 A close and rigorous dialogue is what Alessandro Traina being built between surface and object, between painting and sculpture, in a mirroring of shapes and structures that can not split the artistic process in two specific and independent. In the beginning is the surface that guides this dialogue between reference plane and three-dimensional virtual pictorial object, but it is an idea of painting that concedes nothing to the collapse of the inner color, relies rather the mechanisms of the lines that are calculated ideas to structure the space. The color plays his condition as soon vibrating background, made of minimum apprehensions look, almost anonymous and intangible cospatto the precise identification of linear structures that already imagine how Traina sculptures on canvas. Later it may be just an idea of sculpture in the lead ahead of the game-voltage lines, materialized, become subject impassive, cold and calculated again in her capacity as abstract and minimal. Even at this point in the creative process painting is not exceeded, set aside, but it is preserved in its construction methods, in its function as object hypothetical exercise where the line in the complexity of its perceptual shifts. Then the character of the research lies in the effective exchange of Traina parts: in the precise shape of linguistic objects and paintings in the simultaneous presence of remote object, equally structured by virtual volumes dictated on the surface. On closer inspection, it is theoretical structures and objects, namely shapes that intend cominicare a strong idea of space, more than one identity or function figural Traina paints or stages in their relationships that make up lines circular places, cages perpendicular displacements for looking, forced to follow an ambiguous perspective shot in front of these buildings unlikely. The probability is in the sculpture, physical and concrete in each of its ratio, and is a type of objectuality understood as pure space indication and as the presence of the time. Materials are “available “, says the artist, in fact, the sense of this recent work Traina is waiting to be read by the viewer but also in time of contemplation by the same author. Painting and sculpture speak to us with the same formal elements almost want to strengthen the emergence of a primary space in front of our eyes, made up of structures essential that the artist should be staring at using instruments that belong to both the surface and the three-dimensional space. Here Traina leads in a balanced and aware of all the steps of his personal research, displacing the signs in the space as “ signs” of an ongoing process.
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SENZA TITOLO 1989 olio su tele sagomate cm. 12 x 22 x 216
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