EN > A Critical Anthology > Malice more light
Malice: more light
by Tommaso Trini
Among the different trends of neo-abstractionism that gained ground in the last years the complexity of new spacial structured treatment elaborated sign-colours prevailed over the past purist.
The standard idea of energy prevails over the individual one of light. Many amateur painters prefere free chromatism. For this reason those who experience painting to day different from yesterday, start from abstractism. In this unhappy times, when the great part of art limits itself to vulgar imitation, what's important is to remain forsighted not seers, but simply forsighted. This century's Avant-guards were many times able to reach prophecy - as De Chirico foresaw -. As for Luminism is not sufficient that art reflects the pantheistic light of the world, as it nad already been done from Turner to Monet. It would be necessary for Luministic paintings could produce its own light, as fire-flies do, or the sublime of Rotkko. Out of such an utopia there's another way to go: the Art's path as vehicle of expantion of light, or less poetically, of consciousness. Now that we are carefully considering the last neo-abstractive experiences, the ideas relating to the autonomous nature of art, may also be brought back to their heteronomous functions. Above all the visionary and not the prophetic. Malice's painting since many years ago without dubious vigour has set itself in the tradition of the new that has for reference abstractive-expressionist matter and the light. But colour isn't its primary medium. More than the colour signes Malice works on the unity of the spectrum of signs and gestures. To those who observe his works he proposes more latent referent - now a figure, now a landscape - according to a chromatism - that probably takes roots more in the Mediterranean area than elsewhere, but it would be mere rethoric to define it as "mediterranean light" Malice's recent painting puts in evidence the phisical matter with the language of magnetism. It is not identified with visible forms but percelvable energy. Malice condenses all his works in an open-cut mine and nonetheless deep. What his last canvas reveal, we can only infer by analogy, with other pictorial currents from the 50 's till today. Malice shows us, not with defined signs, but rather a complex of visions and thoughts together.
I admire the painters that bind us in both the sign of attraction and forcible repulsion.
