The Forminformalismo

The Forminformalismo
is a pictorial style that finds his/her own expression in the creation of a series of belonging paintings to the collection Shapeless Forms, but that it will continue in the future in the elaboration of every painting of mine. It is born after having "crossed" and analyzed, interpreting, the History of the art that reveals him fundamental, holds, for an artist; this last must be able to be for being able to do, for which it is essential in my opinion that a painter first of all knows "to draw." Only in the sketch he is able to develop a personal and evolutionary discourse. Forminformalismo is synonymous of New-form since this style abolishes the idea of the existence of a not-form. The not-form doesn't exist, especially in art, also because if it existed it would not have sense the existence of the same art. Landed to the art of J. Pollock and done interpret the gestualità of it proposing works in action-body painting I reached the conclusion for which the decomposition of the form was directly proportional (paradoxically?) to the creation of new and, therefore, unusual forms. The gestuality of the body as creative element of the body-art, it contributes to the expressiveness of the Informal Painting, according to which all decomposes him up to make the form a gesture, an expression, etc. A happening, in short, where every element, preserving his/her own autonomy is also dressed again of associative liberty producing, so, an interdisciplinary demonstration in which the painting associates him to the theater, to the music, to the sculpture, etc. The painting also becomes demonstration of the daily life that the artist brings to the liberty to also use utensils of domestic use. In this way the fruitore over that such restar, he makes direct protagonist of the "event", living in before person what "it is about to happen." In the year 2000, exposed therefore for the first time the collection Kosmos, gestural transcription in torn drops :metamorphic action. It proposed to the fruition paintings performed in dripping to which, once finished and suspended in wall, I inflicted an evident tear so that to make not only the endless painting, but above all to mark the abandonment of the Informal style and the beginning of the Shapeless Forms. A cut: new beginning, leans out us to this life, he revives just as in a room birth. The philosophy of the Forminformalismo founds him upon the attempt of conciliation of the opposite ones as essential elements of the life. Nothing is never stable, defined once and for all! In representative terms, a feeling which can be the love, could be held for instance, superficially abstract, shapeless; in reality the informity of a feeling or a whatever thought stays such in to try him/it, but since the man, for his/her nature it possesses the ability expressive-communicativeness, you/he/she is suited to represent representing what it feels or test. In the exact instant in which something is represented, it acquires a form in turn destined to further transformations, just as the same life. Therefore also an alone drop of color that breaks him is not more shapeless it was not anything else other than for the simple fact what is geometrically closed. The everything (creativeness, execution) and the contrary one it doesn't exist only of everything, on the contrary also what conducts to the everything (thought, feeling), to his contrary (metamorphosis) and what there is beyond the contrary (eternity) one, that brings to the water. The Forminformalismo is, therefore, painting that has to the base the form as "essential form" submitted to a continuous cycle of death and rebirth that "it brings back to the origins" from which he leaves again in different way, unusual, as the image artistically recreated but not for this abstract in how much visible, created, represented, in movement and with colors that recall the blue ones and the greens of the nature of the sky and of the earth, of the water and of the life. And the use of acrylic is explained by its need to integrate the work of art like the water of life primordial element from which, as we well know, you create "forms of life." Etymologically the word indicates the form external appearance, the conformation extrinsic and, therefore, an objective body in the phenomenal world, but especially something that takes thought and spoke. In contrast with the adjective Report indicates that it does not possess a "rationally definable shape." Inform forms: everything and the opposite of everything that is opposed attract. Therefore, the information a form is, in my opinion, point to the stage and unknown to rationality, however, in continuous metamorphosis: what I see is no longer the same. Therefore, if the form is rationality, and non-defined shape is irrationality, primordial, then I decide to associate RATIONALLY in my painting to form the non-form, in a game compelling geometry. Forminformalismo is recognized as a form without form, and conversely, how the formless form that the artist paints. With many more returning to the scene "classical tools for the translation intellective a painting of the artist for that part of the essence in trying to advance the shapeless. This style of painting brings to the phases of the project, and to sign up and design as vehicles for basic interrelationship with the environment, passes through the definition and culminates in my color. The choice of a color indicates rationality (shape), not instinct, and any artist is well aware that the outcome does achieve. Form, consciousness, perception and volition are components that characterize living beings that can interact with the environment, so the interaction of environment and I certainly indicates that the concept of life exist in a single moment is that the 'I' environment and, therefore, they become one and inseparable. The ever-present possibility of moving from one state to another vital distinction, which certainly explains the process outlined by metamorphic Methods Inform others which are just the transposition of the life on a canvas. Magma continues processing. The essence of any phenomenon exists in the phenomenon and, therefore, it is one with the form, so the form and essence (Report Form) constitute one essential in the reality, while remaining two distinct things in life . For example: to be a "X" is necessary that the elements "a" and "b" to unite among themselves, while remaining "a" and "b" two distinct elements, both have helped to create "X" therefore they are no different from "X". If we consider the existence of "a" and "b" one realizes that each of them is the phenomenon in metamorphosis and, therefore, also temporary (but not necessarily finite) and subjected to new and endless transformations. And so forth seamlessly. The painting is Forminformalismo in this regard, body action in a space of time.
Remo Bevilacqua

BIOGRAPHY

Remo Bevilacqua was born in Basilicata in 1980 by Armando and Maria Teresa. Inherit from parent the art: Painter and designer of much secrecy, in turn last of a family of artists. He attended the Magistrale "Pythagoras" Insitute of Montalbano J.co is encouraged in his artistic activity by various personalities from the field.
Shall be directed to the study of design as a vehicle for analysis of personality and the environment. Experiences and different painting techniques, especially dedicated to the study of color as an expression of self. Brilliant artist, an artistic journey through whose central theme is the "form-color" pass it by force plastic-figurative (first phase) from exalted noble strokes and balanced, all'onirismo-surreal metaphysical (second phase) in which the interior as well as experienced staff, is made collectively. After skillfully customized the dripping, the action-painting, the body-art and abstract expressionism, making daring trials so as to be considered among the best performers and most seductive of Pollock, the observation suggests "Kosmos, gestural transcription in tear drops: metamorphic action. " With Kosmos series of paintings and installations, there is a high performance professional quality and everything is pure chance, accidental ... but because the artist over the design, produces a clear finish on the strap so as to unfinished and submit, then, the observation-participation of the public, now direct the protagonist of the 'event'. In Kosmos, Bevilacqua no longer an artist Informal (justification of the tear), so draw up a new and impressive collection of paintings: many more. in many more shows are a unique painting style and personal, where everyone has the form canvas (imperative form) at the drop of color (unusual form). Human forms and not come back on stage to highlight a research shaped by skillful orchestrations of colors in blue, green and their derivatives and to show a genuine genre painting (third phase). The author, in his paintings, interconnects several forms, from the media used in corrections (including human) to those essentials. And to quote J. J. Winckelmann: "It is important that the artist is thinking more than they do see." Among the dreams of Remo Bevilacqua is a desire to expose at least once with the mother.