Lamberti’s aniconic code

The following text is the metaphrase of Paolo Bolpagni’s original critique “Il codice aniconico di Lamberti”

Giovanni Lamberti’s art career reflects his explosive and dynamic personality. Only considering last conscious stages, his job as an artist has been nearly brief, little more than a decade, moving from post-cubist iconic topics to material ones, characterized by experimental frenzy, falling into the painting sphere of influence, an informal-born but typical 80’s painting full of stylistic “libertinism”, taking place in the post-modern lack of moderation with its eclecticism. Then Lamberti felt the urge to come out of the pure two-dimensional boundaries, giving life to radiator-assemblages and waste industrial materials that have made his artwork so peculiar. And suddenly arrived what I defined at that time “a beneficial and cathartic tabula rasa”, well embodied by the 2007 monochrome topics, apparently cold, but actually boiling with pressed energy, always ready to explode but intentionally converging into a precise and essential formulation. From this new “starting condition” Le Rond began to build and produce again, absolutely aware of falling into an analytical line, in which the artwork has the tendency to abandon the traditional expressive contents in order to become more and more a linguistics and structuralist research. Joining to an alternative alphabet, it is a “code” that, reducing all the perceptive experiences to a common and universal basis, therefore the infinite variety of the phenomenal visual world to a series of few constant and invariable elements, is set up as an alternative way to understand and deal with the Form. The purity, the geometrical complexity, the removal of any pictorical feature, of residual emotional instincts, are in the same time the basis and the corollary of a similar axiom. So the flat, clean, compact, anti-perspective surfaces of Lamberti’s panels, from which a sense of space referable to some outcomes of the post-pictorical abstraction glows. The artist’s attention is focused on the method used to “build” the artwork, on the systematic study of the relation between the idea, the execution and the visual result; on the perceptive effects of any single process. The last products of Le Rond’s inexhaustible creativity are provided with a technical-rational substratum, strictly devoted to an apotheosis of the notions of “project” and “good drawing”. The vocabulary adopted is completely extraneous to every kind of iconic reference, independent of the fleeting transience that characterizes natural manifestations. So objective, absolute, but without transcendental hypothesis or Utopian demands: Lamberti, as a convinced enlightenment follower (his pseudonym is a clear homage to D’Alambert’s limpid intelligence: the Enlightened Mind’s appellative was “Jean Baptiste Le Rond”) and, I venture to say, as a good Bresciano, focuses on the adjective “concrete”, more than on the “abstract”: that is on the pragmatism, contributing to build with his artworks a more logical visual world, a “society of harmonious proportions”, a symmetric art capable of influencing the surrounding environment and lending an order to it, stopping its intense becoming building perfect structures, proficiently avoiding the risk of an immovable statics. Some humanistic genuineness in him, so the fine contradiction, the light paradox, the “smiley glimmering” of a pleasant and reassuring dynamism never lack. So, despite of his rigorous and impeccable method, there is always a margin of free will and casualness which makes the research proned to the material stimulus and “answer” to working and handling techniques: these abilities aren’t certainly unaltered; and this is inevitable, considering a creative dignity such as Lamberti’s one, mainly interested to enhance the dimension of the object and the physicality of the Form and the Colour. Balances of opposite strains and an enthusiastic “feeling of geometry” (the apparent oxymoron is wanted) live and act in Le Rond’s panels. It’s the gladness of a possible endless exploration of the visual field, and about that I’d like to remind of the high example of Luigi Veronesi’s unleashed and never tired vein, directed to (as He claimed with philosophic naivety) a “painting of joy”. Lamberti, following his now established and well-controlled “code”, enjoys testing the unlimited faculties of the “medium” and the infinite ones of the geometrical lexicon, which is consentaneous to him: straight lines, diagonals, curves, sinusoids, triangles, quadrilaterals, sometimes combined with allusions to architectural perspectives. So the interpretation and the ermeneusi of the image turn everytime into a never exhausted and perceptive adventure, because, as Claudio Cerritelli rightly reminds to us, the act of painting, of assembling the elements of the composition, is always a moment of critical seeing knowledge and argument about the tautological structures of the language considered as an auto-concluded space. I’m interested to point out a last feature in Le Rond’s recent artworks, that is the strong communicative purpose: the pictorical-sculptural expression, stripped of its duty of mimesis and representation, gives off an idiom opened to the “proposals” of the technique and the industrial mechanics, of which materials and processes are used, in order to suggest an evident character of informative synthesis, immediate and strongly closed to the Reality. This reference won’t surprise, because the demand of the strong visive impact implicates the approach to a notion of “realism” not far from the one professed by the Anton Pevsner and Naum Gabo brothers in their famous 20’s Manifesto; which asserted the adoption of kinetic rithms as basic categories of the perception, and the construction of a new aesthetic system built on the authentic laws of Cosmos and Life, that is the Space and the Time. So, this is certainly not a “homesickness” of naturalistic foolish ambitions, but, on the contrary, a push to affirm the need that Art fits in with everyday life in a more active way, also maintaining an absolute independence of every kind of utilitarian demand and attempt to direct its autonomous formal research at merely application aims.

Paolo Bolpagni