Informal mediterranean itineraries

Informal mediterranean itineraries

by GiuseppeAndreani

Luigi Malice's artistic adventure, by no means a "divertissement", has followed since 1959 the true "path of an artist". An eloquent itinerary, a cultural training, an intellectual elaboration linked by profetionality, abilities and knowledge of visual languages that involve a project of research on art and painting arriving at an autonomous development original and coherent approach deriving from artistic informal culture. Malice passes through the spirit of Informal Art, interprets it critically and poetically and so doing he then creates his works. From this point of view Malice seems that applies to an interesting method to practice a painting with hermeneutics, that considers the art work not as a "perfect" object to be preserved in an ivory tower, but as an infinite process of interpretation of a work. These itineraries of Malice are above all a recall to mind not to forget its primeval source: the connection Artist-nature-world. The Artist declares himself as belonging to Avant-guard of both Neapolitan and Italian painting, but adding to this need to elaborate further significance of his own artistic envolument. His artistic project embodies the influence of his geographic, existential and anthropologic contact with Calabria, where Malice has accentuated his informal experiences since 1963. This period of his activity here forms his connection to the Mediterranean Naturalism: so an enhancing his work with the traditional dimmed iconography of Calabrian culture. This change, hard and difficult, was as hard and difficult as this ancestral and rough land of Calabria, proud custodian of her greek traditions and her own autochthonous experiences in art and culture rather unaffected by modern idea of "novum". But Malice knew how to keep in touch with the "Genius Loci" of Calabria, with his abstractionism. And the Artist mastered some pictorial subjects taken from the Calabrian anthropological heritage, but he proposed them 'in the light of comtemporany neo-informal abstractionism, so that Francesco Gallo could talk about "a restless expressionism having no peacell. And once more we find the relationship Artist-nature-world in Malice's itineraries. But who wants to find in this inseparable relationship the incommunicability of an unhappy conscience, or the dismay of coming up against a wall, it would be of no use. And when the most radical results of the neo-informal of the 80's led painting to actual space, Malice, on the contrary developed his pictorial meditations without breaking off from tradition. "Paesaggio","Paesaggio2", "Sole e natura calabra"(1965), "Impatto con la natura"(1967), "Paesaggio blu"(1987) are not only the titles of some paintings, but like bits of a whole dialogue between the Artist and Nature. This relationship of the Artist becomes real through chromatic effects, Malice doesn't represent Nature as an abstract, conceptual representation. Malice's work don't represent nature in some way but it's Nature that makes itself known through the Artist.