THE EYE OF THE TIGER Painting watches us. Opens its jaws. And makes its skin esplode...

edited byItalo Bergantini e Gianluca Marziani

Three young pictorial proposals. Three figurative visions which scratch, cut into, accumulate, mark out, dirty… Three journeys where painting screams out its atemporality and its profound autonomy. A picture as an intimate subject, beyond time and space but within a continuous present. Painting sinks the knife (paintbrush) into our primordial instinct and makes its archaic voice heard. Panting is watching us… At the centre of the vision we find Her again, female language “par excellance” as it is the genetic code of visual reproduction. Painting which has always transformed within itself while it assimilates and metabolizes every single present. Painting made up of multiple codes, models and styles, beyond the dimensions of what is new but within the aesthetic idea of implacable renewal. Open your jaws… Painting as feline language: sinuous and concentrated movements, speed and synthesis, elegance and aggressiveness… the jaws open and out pour the colours of live nature, the tonalities of the fight, the “impasto” of atavist hunger, the liberating scream, necessary cruelty. And it makes it skin blow up… Colour, matter, gesture: three creative particles to define a certain approach to the picture. Bernardi, Rubini and Zeleke paint with young anger, without social rhetoric but with the sacredness of the “Pietas”, aware of the picture as a bleeding wound and at the same time a regenerating one. They look at their humanity close up, they adhere to the wounded and howling skins. The formats are increased until the explosion is expanded and drawn out, catching the fire of the past and the correct imprinting of the present.

THE EYE OF THE TIGER… Three young artists, three moments in which painting chooses an aggressive and dominating fluidity. Their paintings become the eye of the tiger: pure instinct and control, concentration before the prey, the power to release fast and lacerating actions. Painting, basically, appears ever more similar to the biology of nature: it reasons through passages which imitate the implacable regeneration of life.