Lorenzo Taini's artistic action is oxymoronic, it takes shape through subtraction, it reveals itself through absence.
The Open Works are theatrical wings, portals that have a reason to exist only in a fourth dimension, one in which the gaze of the observer encounters a pressing dialogue, made of silences.
In a deliberately restricted space dominated by rigor, we witness a perpetual scene, a limit that imposes another limit, to trespass in freedom by eluding the material.
In this collection, Taini dares even more, he lays bare the structural frame of the painting in an act of obvious sincerity: there is nothing but wall, beyond what determines a painting. But is it really like that? The subtext emerges ironically and sardonic, a suspicion or perhaps a certainty that one does not want to give in to. There is something else. After. Beyond. The freedom of this increasingly arrogant conviction runs along the perimeters, takes possession of the color, a full color, which leaves no room for hesitation or nuances, a declarative guide. Overcoming the dictates given by the edges, it plays with the intersections between full and empty spaces, between interior worlds and the external world.
And the canvas, a rhetorical question, is something already known that steps aside, showing its vulnerability to time, to glances, opening up the possibility of questioning about the visual experience itself. A veil of Maya in reverse that reveals the action of time and that escapes constancy, rigor, predictability to become essence and accept that .
The image produced by an analytical action of synthesis, through the process of transfiguration with points, lines and surfaces, questions the nature of the representation that cannot cease to imagine itself as a self.
We are the wall. Or the wall is a reflection of our approach to seeing the beyond.
It is not known.
