Bruno Donzelli - Motor III

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," meaning to extract or draw out. The process of abstraction, in fact, consists of eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Mirò, many painters have pushed the process of abstraction to the limit in their works, paradoxically creating pure forms and colors that do not exist in nature, or translating their emotions and instincts into images. Always driven by an ironic reference and a playful attitude towards contemporary art, Bruno Donzelli in this work draws inspiration from a science fiction influence, typical of certain movements of the 1960s and 1970s.

In general, Bruno Donzelli's compositions constitute a game the artist plays with his relationship to the history of contemporary art and his own artistic production, which involves a certain degree of citation. This citation, however, beyond the conceptual value of the operation, becomes a composition in itself with its own formal and chromatic balance. In this specific case, Bruno Donzelli consistently creates excellent abstract works in which the symbolic component is consistently key, along with a childlike figuration. Likewise, his chromatic exploration is fundamental, with aggressive, distinctly pop tones predominating, which are in line, even conceptually, with Donzelli's work. Indeed, Donzelli's citationist approach undoubtedly draws on Pop Art's reflections on popular and mass-produced images.

Bruno Donzelli was born in Naples in 1941. He made his national debut at the age of twenty-one with an exhibition at the Galleria del Fiorino in Florence. His pictorial production is divided into several cycles: "Ormare," "Siparietti impertinenti," "Mirroring in the Heart of Art," "Nuove Piazzas d'Italia," "Morandina," "Sironiana," and others. His artistic language, which often engages with 20th-century art in a kind of interplay of references, was inspired by a Pop aesthetic. In the late 1960s, however, he developed a fantastical expressionist style with a childlike figuration bordering on cartoonish.

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