Bruno Donzelli - Zoom Boetti

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," which means 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 pure colors that do not exist in nature, or translating their emotions and instincts into images.

Bruno Donzelli's compositions are a play the artist plays on his relationship with the history of contemporary art and his own artistic production, which involves a certain degree of quotation. This quotation, 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 fundamental, along with a childlike figuration. Likewise, the chromatic component is fundamental, with aggressive, distinctly pop tones prevailing, which are also conceptually aligned with Donzelli's work. Indeed, Donzelli's quotation certainly has something to do with Pop Art's reflections on popular and mass-produced images. In the present work, the quotation is inspired by Alighiero Boetti's famous tapestries. From a technical standpoint, it is very interesting how Donzelli replicates the textile surface through pictorial matter.

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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