Signs and drawings, anthological of Roberto Tomba
Exhibitions, Italy, Bologna, 10 March 2018
The Wikiarte Contemporary Art Gallery
in Via San Felice 18 - Bologna
It is pleased to invite you
Saturday 10 March 2018
6.00 pm

At the inauguration of the anthology of:

With the word "sign" semiotics is used to define something that stands for something else, a system composed of a signal, a reference and a referent, which refers to a content. The "design" is instead structured as a more complicated procedure, in the identification of defined areas that create the visual perception of shapes from the varied nature, the overlap and the elaboration of which will create other hypothetically infinite. The quality of Roberto Tomba is that of bringing together "signs" and "drawings" in the immediate rapid of a single dynamic instance: the stroke flows on the surface to compose the bare essentiality of pure, intact forms that run after each other in search of a dry and precise image, even more effective in its preservation of its own subversive, symbolic and significant charge. These are not sketches or preparatory images of something larger or more defined: the design of Tomba maintains the autonomous dignity and rare preciousness of the work of art tout court and can constitute - in more than one occasion - the final landing. An aspect of no small importance that informs the entire compositional process of the artist: the source of an image, of a subject, and its reiteration in time - under various forms, formats and techniques of realization - are invariably shifted from the painting to the pencil drawing to the crayon drawing to return, perhaps, back to the painting, within a progressive progression without interruption where each station, each stasis achieved, is in itself a well-defined, entire universe.
The slight immediacy of the graphic sign, deprived of the flattery and the comfort of the possible chromatic variations, happily compels the observer to refine his own analytical synthesis that goes to get through the clean dryness of the narrated story, psychological allegory and implicit translation. In this regard it is necessary to underline a further vein of abundance that nourishes the artistic work of Roberto Tomba: the almost constant presence of the objective correlative, poetic concept elaborated by T.S. Eliot who closely links objects, situations, images or events with the particular emotions that derive from them.
The visions, the dreams, the multiple metamorphoses that run after each other and repeat themselves in an anaphoric manner build and support the entire mythopoeic palimpsest of the artist, a variegated and complex imagery always poised between amused irony and long-awaited melancholy sympathies. Think of the delicious delicacy of "L'orchestra" whose musicians could be the defeated but conscientiously assiduous Titanic players, or the elegant melliflues of "L'Anniversary", zoomorphic self-portrait of a family episode.The ironic dissimulation and the very successful endiadi between title and image of "Cagnolino con signora" in which the arabescato, an intertwined plane of signs to recompose the image a bit 'fané of a lady who occupies almost the whole space, nothing can be priceless against the almost despotic hieraticity of the dog on a leash, at the same time protagonist and deuteragonist of the work. When the essentiality of the trait is conducted and practiced at the extreme, the titles run to the suggestion of the represented image, almost to direct the observer's mind towards a preliminary Gestalt hypothesis, surely to claim their fundamental role - nothing at all accessory - in the economy of the work. So the few signs of "Bistrot" lead us into Parisian atmospheres, four lines variously addressed and modulated in space tell us that we are in front of a presumptuous dog, dynamic curvature, taken and concentric drive us to follow the events of a cyclist . The amused and programmatic deformation, the unstable restless equilibrium, the progressive tapering of the sign capable of touching truly admirable points for simplicity and personal mimesis of detail make Roberto Tomba a sort of Homo Magus, definition pertaining to the magical idealism of romantic age according to which the spirit is able to shape and transform matter: by virtue of this faculty thoughts can become things and things thoughts. Leaving the pencils flowing on the sheet following the disparate evolutions of a tightrope walker who rivals the air, the artist rushes dreams, suggestions, allegorical hypotheses, stories and symbols, transforming the essence into living, visible and lively material. As in the Fellinian "Book of Dreams" - a great example of how the delicate depth of being is recognized and sought after - Tomba offers a series of satirical and parodistic situations, dreamlike visions and paradoxical perceptive inversions, the grandeur of myth and a mystery like a harmless family interior or an anonymous provincial landscape, a boundless universe in which real and surreal intertwine and proceed to infinity. The images become thinner in thought, they are combined in labyrinths of walking in which the style is the man and the sign proposes the complicated simplicity of being oneself. Alberto Gross

Exhibition curator:
Deborah Petroni

Sponsored and advertised by:

Duration of exhibition:
from 10 March to 5 April 2018
from Tuesday to Saturday from 11.00 am to 7.00 pm with continuous opening hours
Monday and Sunday closed
Free entry

Info and contacts:

Comments 0

Say something

You must login or Sign Up to write a comment Join