The Synergy of Sons.
Works by David Kent and Lorenzo Chinnici, Six Inches, Milan, 29 September 2015
Written by Marcello Francolini, Art Critic
The 2 artists meeting again, after more than forty years thanks to a chance but decisive meeting, for their children as a result of a critical discussion about some artwork.
It seems to be the beginning of a story of the taste of the past. Today in our communicative society, in which we are able to enter at any time of the day in any place of the world, it focuses on a bygone era for the 2 artists.
This reunion has something symbolic also of the chance meeting of the two children.
This acts as a demonstration of the consistency of these two artists, who after many years of mutual unknown activities are found in the same clothes that are very frayed and worn which highlight the thoughts “to see.”
Both artists, David Kent and Lorenzo Chinnici, move away from being a reality in contemporary art, recovering a mystical representation.
By reality I refer to the practice now disruptive, in contemporary dell’incorniciamento of things, a process that sees its role in the re-definition of reality: ready-made.
Here nothing is closer, we perceive at once the distance with the reality of the picture to be asked first. No works to be seen, but are ways to see through work. As objects arranged and are organized according to a predetermined way (as in the case of ready-made) are able to leave their functionality to suggest new meanings which are inevitably present here and expose themselves in their evidence and their material flow occurs nell’evenienza of reality.
This contrasts with the practice of these two artists that are pursuing the way of painting remain silent in an attempt to abandon it, the significance of its subject, and retrieve it as part of being acted out (in fact the painting is not as an observation post but as the action of the work) we could define it as an imagination, considering that everything is transformed (the painting is basically a job and how this transformation happens) before it is imagined.
Back to the Real (the Real Return)
Critical reflections on the work of Lorenzo Chinnici:
How do we look at the works of Lorenzo Chinnici? Which side to measure the features? Within which we can bring together the historical perspective?
So it is with these works that seem to be suspended in time. Some of them are finely veiled touches of sea breeze, as the cycle of “fishermen”. Behind these coatings lie gestures simple but essential, on the whole this retains a genuine spontaneity so as to generate an immediate empathy with the subjects represented, their moods, their thoughts, what they have done and what we still have to do.
This is evident in the close-ups, all the attention is focused on being. The viewpoint has been lowered and puts the viewer in a state of confidentiality; the volume of the bodies is magnified in volume.
This simple majesty, invites us to a pleasant intimacy of the artist, and we can move to the territories of the beyond.
Prospects border on the skin of the figures, and yet such a short space that form and emerges as bullies mending a status que of an ancestral image of the world now abandoned by contemporary society. Who would not want to pause so, all’albeggio of a Sicilian day at the foot of the Mediterranean?
[I would like, for a moment, to open a bracket around the “pause” for the viewer. The pause is a condition in which the man closes the world to learn to feel it, looking at it. The pause in this sense, today, is beyond doubt an action to rebel against the status quo. I am reminded of the concept of Horror Plen Dorfles, presented in the book of the same name in its opening of the twenty-first century, this horror of the overflow, which corresponds to excess noise, both visual and auditory, is the opposite of any information and communication capacity. Now, within this status quo, Dorfles, complained of the possibility of a break, an estrangement with the ultimate goal of maintaining self-awareness, today continually endangered. ]
Many of the works of Chinnici, seem to come to light in the timetable that the sun rises, many of his characters stop at dawn, as the Lampara, work, the others begin. But what is this dawn that is revealed? It is in this dawn that shows the evidence that takes form, in this time of day that despite all the pain, clears the body in its towering majesty. As we remember Nancy -until there is a body there is a dawn – and adds that – the dawn is right, and also it extends from edge to edge.
His mezzotint is not the darkness of a conflict or contradiction. It is the complicity of the places that opens and extends -So in the hour of sunrise half tone range and any difference in them fades and comes out being in its total body of evidence and meat.
Ecce Homo for an artist like Chinnici is a “revelation” of the intimate things of the world.
His works seems to be fundamentally geographic from latitude, in which they generate.
Sicily located by rugged cliffs and sharp vertical profiles, suggests the primacy of line and plane instead of being modulated and shapes; The African sun burning landscapes requires the primitive force of the color instead of tone, and atmosphere.
Even the characters are those around him, part of the Sicilian world.
But at the same time these men have no identity, they do not recognize as singular but as a symbolic expression of the human being.
Dispositio former Clausione Linearum!
(Arrangement produced by demarcating lines)
Critical reflections on the work of David Kent
David Kent, being English, reflects in his works, the custom design of the Anglo-Saxon culture.
A linear tradition that is nourished from Normandy architecture of Durham Cathedral, and crossing the boundaries of English artists of the sixteenth and seventeenth centuries to rejuvenate with the season of the Pre-Raphaelites and bring his art to the twenty first century with Pop Art in Hamilton, that the boundary line makes the more effective tool of imagination and of reality.
Here is the origin of the method of representation applied by Kent.
[I’d like to open here a bracket on the structural function of the outline that emerges clearly in theory, perhaps for the first time, in a medieval text: Commentaries in Sententiarum of Bonaventure.
William Blake said that only fools see outlines and therefore they draw, but he also said that only the wise men see outlines and therefore they draw. The fact is that the boundary lines do not exist in nature and are instead the product of the process of abstraction precisely, as has been said before each performance.]
The contour line is the way in which it releases the creative thinking of the artist. Through it appears the evidence of the image that springs precisely from the figure / background and the shape is well marked in its spatial arrangement.
What is it that we want to highlight in Kent’s, work and of what form does it take?
It seems that the whole of his iconographic register is taken from the history of culture, each work refers to an image which itself embodies a particular concept. For example, Dali in Wonderland, Philosophy of Dreams or Snake and Ladders, they are not, as erroneously claimed, surrealist works but as works regarded as Surrealism.
The image of Dali, in which inevitably leads to the urgency of a metaphysical practice. This is not only a tribute to an end in itself, but takes on a more quirky nature in the form of an idea, especially in today’s society of mathematical rationalism.
Kent within his work shows wild imagination, a poster of the unconscious chaos, the one defined by the choreographer Jean-Georges Noverre as Bel disorder (disorder prospective and language disorder).
At this point I would be inclined to move toward the original characters of the Pop Art movement, that of English matrix that contaminate the model representation derived from the forms of mass communication in order to involve a wider audience in the artistic debate.
From this perspective, Kent, seems to be at the origins of what is considered in today society as the “cartoon” whether used in cinematic advertising purposes: the storyboard that he uses is, in most of his works to be found in the popular biography of various artists and personalities of the eighteenth-twentieth century.
I think if Kent had used various forms of expression, today he would be considered as an original pop artist of the English movement; which he seems to join with some illustration of the social customs of the time, it is the evolution of technical drawing that comes in its transformation of his paintings.
Kent’s technique is, therefore, all English, – a “greatness” that is re-born in Kent just like a gentleman who does not get his hands dirty with reality but building it as he sees fit.
Two painters, Kent and Chinnici, originating the painting from their roots; one of the streets of Surrey and the other on the streets of Sicily.
The image is formed in the heart of consciousness diversified depending on the time, past, present, future; follows a kind of prism of specific representations defined priorities. The images produced by David Kent possess diversity of existences, between psyche unconscious and conscious representation and present: the dream images, hypnagogic images, fantasies semivigili, perceptions. The image often designated ‘imago’, alluding to an interpenetration of word and visual function, it is designed by our artist as a representation dissoggetivata, ie devoid of any consistency syntagmatic. Kent, in fact, is the fundamental character of culture, inserting objects in their representations or otherwise iconic symbols and dreamlike subjective, the artist is able to represent their ideas, values and thoughts, placing them in imaginative unreality, with his work brings us back to Kent Freudian reflection “in the representations dream there is one principle, that of pleasure-displeasure. As reductive form of dreams, it is treated as an image of realized and illusory, representative prototype of non-being, mental activity is vital. “Here, and nowhere else, Kent makes his work vital, meditative, illusory yet absolutely real.
The artist develops, so, a three-pronged strategy of seeing:
-farsi see, perform, attracting the gaze of others;
-apparire different disguise, deceive the eye;
-rendersi invisible, disappear, escape to the eye;
the obvious deduction that the pictures of our artist have a threefold function: active, passive and, above all reflective.
Thanks to Kent, the user is able to enter into historical images, from a mythological perspective futuristic provided by the method, absolutely original, the application of color and the strong choice of it; the courage shown by the artist brings his work in the vanguard of the new contemporary aesthetic, able to translate the contradictions and dissonances, the wounds of our age and its culture not be theorized as the society in which we live.
Only right I see a monologue from Richard II:
“I try to contain my mind as the female with the sentiment. My feeling is the father; together they make a generation of thoughts in turn generating; all these thoughts populate my little world, similar in character to the great people of the world: because no thought is content with his lot.”
(Shakespeare, Richard II, Act V, Scene V)
“…they are great fun and depict popular people and characters.
He is a kind of surrealist Banksy! […]
I love them all!“
“I just received The Watchers this morning, I’m absolutely thrilled with it! Its made my Year.
[…] It will take pride of place in my Livingroom with a nice LED light to show it off!
I will get in touch in the future to purchase another painting (Not sure which one)
The picture was packaged to perfection!“
Carole (Highlands, Scotland)
“It’s here. It’s in mint condition, and the frame you chose is perfect.
I’m thrilled to have this painting. …a masterful job with the theme he chose.
Best wishes for the exhibition.
People need to think about ideas and not just decoration when they buy art.“
Charles (Texas, USA)
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