Domenico Bianchi (Anagni, 1955)
Domenico Bianchi emerged in the early 1980s among the artists promoting a return to painting with a new, revitalised approach. Differently from the proponents of the Transavanguardia, he did not ‘turn back’ to figuration but devised an essential style reduced to just a few elements: iconic images united with abstract signs.
Bianchi’s pictorial works are fruit of a slow, meticulous process that begins with choice of materials and restores a sacral dimension to painting. The artist’s interest centres on materials, simple or precious, that possess an intrinsic transparent luminosity (wax, glass fibre, silver leaf, palladium) which the pictorial medium can exalt.
Light is the primary element in his works: it writes the score for his spaces and the defines movements of his forms. His canvases are composed of a central ‘signed’ nucleus that usually stands on a uniformly-coloured ground. This element is the ordering principle for the entire pictorial surface – even when the canvas takes on environmental dimensions; it generates the form and summons innumerable hypotheses of images, suggesting an infinite vastness, always open-ended.
Bianchi pursues his research into harmony among elements in his sculpture as well, as for example in his benches. Embellished with geometric intarsia or marble objects, these are placed out of doors or inside the arenas of art to define a visual space that invites one to stop, to reflect, to contemplate.