“In its’ absolute value, the image places itself beyond any dichotomy; between abstraction and representation.” Or even, that “the imaginative freedom is beyond the normative canon and escapes from any kind of juxtaposition between abstraction and figuration, from the real and its simulation.”
Donated by Carlo Traglio. Wax on fiberglass, 1996, 204 x 164 cm.
Born in Anagni (FR), in 1955. He lives and works in Rome.
Driven by a harmonious and meticulous research into forms and materials, Domenico Bianchi emerged at the beginning of the 1980s, proposing a reflection on painting with an architectural function, and focusing mainly on essential ‘figuration’ reduced to a few modular elements. His images are in fact made up of a sign – a sort of central nucleus generating form, movement, transparency and light – which references infinite hypotheses of imagery. Working on large surfaces, the artist experiments with a particular technique of painting on wax which is engraved, carved or scratched with absolutely minimal strokes, reminiscent of Renaissance inlays.