Teobaldo da Vinci
REVIEW
Teobaldo da Vinci explored
his way into the various meanings of plastic research, reintroducing them as a
more complex and richer language of our time, of our century due to become part
of history as one of the great centuries for sculpture, just as 2001 will be
considered the century of virtuality. “Plasticity” and “virtuality”
match in Teobaldo da Vinci’s plexiglas
sculptures, after so many years of technical and formal research on
plexiglas 
shapes, emphasizing the space together with a possible formal description thanks
to the evocative power of light, refraction, modulation, frequency and,
sometimes, color. He has experienced the plasticity and mobility of light,
the possibility of having it modulated in signs, wording, up to
plastic-chromatic mouldings that were the basis of his manifesto of plexiglas
sculpture-painting. His ability i
n
the graphic and space definition – where the depth of the engraving and the
light effects of the layers play their
part,
either transparent, or opaque, or painted - permits Teobaldo da Vinci to
underline emotional and intellectual moods by way of marbling effects, as
if the image came from a deep memory, or, in his recent works, as
if they were figured under electromagnetic
wave effects, within energy fields. The
graphic, pictorial and plastic complexity of an assembly of light signs and
vibrations multiplying in the plexiglas transparency in centripetal and deep
forces, or centrifugal forces for field expansions of magic evocative power, are
a proof of his love for his hometown, his passion for the plastic strength of
signs, and his sensitivity for energetic, magnetic, orgonic fluxes where man is
concerned. Plexiglas offers him the possibility of lingering over futuristic
town planning, urban utopias intended as places of harmony of order,
transparency and 
light.
Not only does his conscious humanistic vocation impose, as many critics have
already written, but also a real vision of art as a recovery of memory as vital
energy and, at the same time, a projection and planning of the future. The
peculiarity of material, engraving and painting, that he has always expressed
with a great technical knowledge and originality, bears witness to the quality
of his works, outwardly simple, since they can be considered as symbolic and
heraldic, but actually they prove to be a careful search for
three-dimensionality that does not result from the observation and imitation of
reality, but rather from a psychic dimension expressed in the depth of the
observation as well as from a deep awareness.
|
I Quaderni dell’Arte
Dic.1997
|
|
|
Autori
critici
Auriti
T. – Bavastro R. – Bergamo U. – Bianchi G. – Boccaccini R. –
Brousse G. – Bruni L. – Caldini G. – Carli
L. – Castelli D. – Cherubini G. -
Cirri R. – Di Martino P.A.
– Di
Genova G. - Fiorini R.
– Fusi D. – Galfosi L. – Gentilini I. – Gianfranceschi L.
Innocenti M. – Lachi A. - Marucci
I. – Marzan C. - Massarelli
G. – Mastroleonardo E.
- Milet C. – Napoli F.
– Nasillo G. – Norelli C. – Oberti A. –Pagnanelli A. –
Paloscia T. Pèrche F. –Perdicaro S. – Pompei R. - Poppi Vagaggini
G. – Prono C. – Puccioni
D. -Ragionieri A. – Segato G. – Scalisi N. – Sfogli P. –
Tuti G. - Ventisette S. – Weiss H. – Zucchini E.
|
|
HOME