Mario Arlati
Achille 4 Color / cm 140x140 / Anno 2016 / Tecnica mista su tela
Incomplete Flag / cm 60x60 / Anno 2017 / Tecnica mista su stoffa
Mario Arlati (Milano, Italia, 1947) coglie l’universalità dei quattro lumi di Leonardo per investire i corpi opachi e farne fonti di nuova luce. Non si tratta di lumi mistici – i suoi – ma liberi e subordinati solo alla funzione illuminante. Arlati compie l’evento creativo stendendo il colore non per intento “di coloritura” ma per invenzione luministica sostanziale e definitiva, dando perfino movimento al dipinto. Egli giunge all'informale astrazione non per analogie, ma per la luce che via via illumina singole parti che infrangono il tutto: le parti lasciano il tutto per astrarsi in forme che hanno smarrito la memoria delle vecchie forme. Forme che si formano nascendo e che sintetizzano, in quell'attimo creativo, tutta l’esistenza dei suoi perenni dilemmi.
Mario Arlati (Milan, Italy, 1947) captures the universality of light utilizing Leonardo da Vinci’s theory of the four distinct lumi in painting and transforms opaque objects into new sources of light. Not spiritual lumi, but independent light subordinate only to giving illumination. Arlati accomplishes this creative event by spreading colour not with the intent of colouring,rather by an inventive act of luminosity and considerable definition that seems to give movement to the painting. His style of informal abstract is achieved not through analogies, but by light which slowly illuminates individual areas and interrupts the image, sections that develop into abstract forms bearing no resemblance to their previous appearance; forms that at the same moment of their creation summarize the existence of a continual dilemma.
Mario Arlati (Milan, Italy, 1947) captures the universality of light utilizing Leonardo da Vinci’s theory of the four distinct lumi in painting and transforms opaque objects into new sources of light. Not spiritual lumi, but independent light subordinate only to giving illumination. Arlati accomplishes this creative event by spreading colour not with the intent of colouring,rather by an inventive act of luminosity and considerable definition that seems to give movement to the painting. His style of informal abstract is achieved not through analogies, but by light which slowly illuminates individual areas and interrupts the image, sections that develop into abstract forms bearing no resemblance to their previous appearance; forms that at the same moment of their creation summarize the existence of a continual dilemma.