Artinvest2000, presenta:

Giorgio Flis

 

ALTRE OPERE  DI GIORGIO FLIS

 

Analysing the recent works of Giorgio Flis a series of many different things must be taken into consideration.

The force they emanuate makes the observer at first stop to try to understand their mean­ing; starting from theirfirst superficial impact to the intervention of the unusual lines or marks, underlining sharp charges of direction, outlining shapes by different means interwov­en with material in a seemingly disjointed and rambling style. This complex together, appar­ently superficial, but in reality has a deep meaning for the importance of the organization in the dimensions and space of every painting. They are given the responsibility of a dialec­tic confront woven into a dynamic joining up of chromatic strokes with forms that evoke the material itself. In this context Black becomes the predominate colour which, alternately and ambiguously, takes on the meaning of remoteness and obliteration, with the capacity to hint at reality. This force and energy is controlled by the use of other colours having the duel function to suggest of space and light.

This multiple dynamic rigour of the artist is not casual but has the determinate function of connecting forms, shapes and colours in every work. In reality it has the double task of showing the free expressions of the emotion and the process of creativity.

The recent works of Giorgio Flis show the path which has brought him to a perfect equi­librium between rationality and passion. Compared to his other periods the artist has gained full control of expressive syntactics pertinent to a language full of innovation. This conquest is a result of the long hard training and trials of his earlier periods, modelled on the most important art of the XX century and in particular on the uncertain stimulus of the inflamed debate in the 'fifties'. All these have produced these surprisingly new results.

Traduzione di Margaret Clements
 

Origini dell'arte informale

 

 

Biografia ed altre immagini

 

 

Leggi la recensione di Roberto Girardi

 

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