ESPOSTIQUADRATI
Painting, poetry, music are the joints of a single body, the one created by Mauro Manini, Barbara Pinchi and Angelo Benedetti to build a space serving to accommodate the raison d'etre of each, the artistic expression. The body emits musical sounds, it is expressed with words in poetry, creates visual impressions because the artists have chosen these three languages as a useful research tool to probe its interior, with acute sensitivity. Tell the world you feel this is a different thing from expressing only; this process can take place by different routes. They have chosen the road, at least on this occasion, interactive experience to open his own set of individual experiences and daring to experiment with the possibility of bringinge each one their own language to propose a mutual dialogue then to the public through a multisensory experience.
Benedetti Manini and Pinchi are blessed in their own field with the curricula of all respect. Important exhibitions awards competitions tell their story, even on the net, but never as direct experience with the work, Espostiquadrati. The title describes the project that provides the perfect fit between color / to / sound and observer (or listener) by exposing it to the experience of the senses and consciousness. The verses are inspired by the images (Tree, Chest, Landscape, Branch, Red Face, Cardi), the verse sounds, images of nature. This sequence may not be respected, and the order changed at will.
In the joint work of Barbara Pinchi Espostiquadrati, words are crossed by vibration, sound spirits, distortions, trilling, echoes, produced in the composition created by Angelo Benedetti (classical guitar / electronic sounds) to amplify the meaning, to bring down the silence, the ' Listening is accompanied by the look that lingers on the painted surfaces of Mauro Manini. Surfaces, painted in oil and acrylic flashing hosting appearances of natural elements (a branch, a flower, a tree), disorienting architecture (villages suspended), portions of human figures (women), but also forms that arrive in touch the non-figurative, for the excitement of the sign that is guided by the gesture repeated with energy and conscious control. The color aggalla, creates glare, as familiar to paint visions of the informal period, surrenders to the brink of depressions alienating, plunges and then emerges in a multitude of filaments that make up thistles or other forms of flowers almost unrecognizable, almost abstract. The energy that drives the artist seems to arise from the bottom of the canvas and grow up, whether it is portrayed to be a woman's body, is a landscape or elements of nature. They can be covered with brush strokes and incisions or biting strokes of the spatula with a tension that stops when you leave tracks in drips of color. Tones belonging to the different seasons pervade the compositions, with a predilection for the winter even when corn ears are the chosen theme.
The images are inspired by the verses, the verses to music, the music of nature, and so on without interruption
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