Flavio Pellegrini and the perpetual motion of the form
By Giampietro Guiotto
The Flavio Pellegrini’s artistic production is configured as plasmatic research, which, in the overcoming of the traditional concept of painting and sculpture, investigates the infinite phenomenological possibilities of shapes and elemental structures.
On this foundation, the deed takes place with absolute stringency in the direct relationship between intuition and audit of an infinitesimal mathematical system; therefore on a practice primarily mental then constructive, based on the irreducible consciousness of the real and of logical scheme.
If in computer science the algorithm is a calculation procedure featured by ended number of rules and operations, in Pellegrini’s art practice the mathematical algorithms, which are plinth of his designing work, show that the inside logic, that connects plain and protruding forms, is creating only structured fields or static two-dimensional geometries, but perceptively tri-dimensional because they are shifting depending on perspective, spatiality, and light.
These moldable and abstract frameworks, made in valchromat wood and inspired by physic gyrations, intend at first as bi-dimensional monochromatic, at most two colours, geometric visions, but they become alive, with the active displacement of the viewer in the space-light in which are placed, transmuting in tridimensional visions, assuming the value of sculpture that causes a psycho -physical reaction through unstable designs.
The viewer is entering in empathy with the surfaces, to discover the intriguing and surprising behests that hold them and the endless moving dynamics: therefore art works whose space tends to be defined according to the concept of field or relational system between the parties, the result of an active dynamic of moving forces, which does not recognize the hierarchy between center and outskirts.
The artist works on a dual focus of sight: a close one, almost to investigate the microcosm, and one dilated and far away, alluding to the observation of the macrocosm.
The value of rigorous planning assumes, here, a decisive factor, because the essence of geometric shapes is represented by the inlay and the continuous repetition of a few identical elements, geometric shapes such as line, square, triangle, circle and spiral, made of mechanical equipment. The modularity then becomes a structural element, the perfect fusion of crafts and technology, grounding the possibility to endlessly search for complex geometries, transforming the visual space in a place of the mechanical rationality, in the field of pure evidence, which still attempt to defy the rules and the mathematical certainty, of which they are made of. Every visual element, that causes of a disorientation reaction, seems to be spreading endless according to the various circular or linear directions, threatening the edges of the sculpture leaving suspect an absolute spatial encroachment, outside the physical limits of itself.
The totality of the sight finds in the "Riconducimi all’origine" work, studded with light blue dots, which recall the endless sky, its emblematic representation, because the view field seems not to accept the boundary of its own borders and at the same time still managed to create a relational system between the internal parts.
the perfect work exemplification of the formalization of a macro-cosmos in the micro-cosmos is traversed by a continuous flow, which from inside expands incessantly to the outside: a calm and precise fluidity where there are no more center or periphery always accompanied by few colours monochrome and a hint of colour ,that do not prevent the formation of a condensational formal, as in the work "Rotta negata", in which the formal element of the unexpected highlights the pleasure of surprise.
the artist, who moves between forms that testify to the pleasure of infinite life, seems to explore stellar distances , ovular systems, or microscopic crevices, to get carried away by the storms of stray signs and contrails of colour powders, in which norm and chance, essence and accident, rationality and emotion can crossing and conjugate. Each of his works, based on a rational order of modules and reliefs, punctuated by the antagonist game of shadows and lights, become the image of indissoluble "continuum" of the space-time infinity, mobile space of unexpected and indistinct, formal universe in constant motion of endless creative and design possibilities , in which the effects of tension, overlap , rotation and extension of dynamic runs that hint at un eerie certainty of the perpetual perception shift.
“Apparenze disorientate”
“velocità coordinata”
“Riconducimi all'origine”
“Rotta negata”
