Betrix - Monza Racetrack Speed ​​on Air Cushion

In his painting, the various creative, mathematical and geometric encounters have played a decisive role, alternating and emerging into a spatial suggestion, always invented and defined by the limits of the creative imagination which is capable of elaborating progressive combinations of a visual order.

In his new formal compositions, Betrix updates an intention deeply rooted in his past as a man and a designer, and guides his research through resolutions that span a arc, at the extreme ends of which lies rationalism. Today, he still struggles with certain issues of lyricism and synthetic annotations, as he understands that these two modules contain many variations. Nevertheless, his paintings represent harmonious and orderly proportions that mark the transition from an attitude of sensitive intuition to the affirmation of a projective and constraining intentionality. This alternative also transcends an academic distinction between the various expressions, liberating them from the narrow confines of painting schools. For Betrix, painting is, in its own way, an object, and the object is conversely transformed into pictorial availability.

Betrix's departure from the institutional world meant for him liberation from commercial concerns, competition, consumerism, and the entire spectrum of research that is watered down to the detriment of truly new and real work. For Betrix, the globality of space can now be grasped through the plasticity of forms and light, and his surfaces uniquely embrace the tools developed by culture, vision, and communication, transforming them into works of art. For this reason, they combine the technical, scientific, and historical, closely linked to a purpose that is both conceptual and constructive.

June 1981

Franco Passoni

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