Dino Cortiana
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TESTIMONIALS
It is not easy today to say something new in the informal, but certainly Cortiana is making an attempt that deserves consideration. It is his soul led to research, with the aim of deeply penetrating the different why’s of life and art, proposing a cultured painting that, if at times recalls currents and movements of international scope, does not disdain to introduce elements personal and new interpretations stemming from his culture, in which a complex and emotional inner world can be seen that unfolds free and engaging.
A painting, that of Dino Cortiana, who sometimes hears Rauschenberg's 'combine painting', where the intense chromatic path is anchored to the informal, while the samples taken from reality detach themselves from the fabric with a deliberately shocking effect.
The artist certainly knows the vicissitudes of those masters who managed the difficult transition from surrealist automatism to the informal: reminiscences of Pollock, Mirò and Crippa can be guessed in some of his paintings. He prefers large dimensions, where the brushstroke becomes evidence of an instinct, of a vital impulse that forces him to fix on the material that message that finally frees himself from constraints and starts the research towards further investigations.
A spirit therefore his never tame. The dripping gesture and the violence of certain intentionally material drafts that denounce the primacy he granted to gestural painting, while the surfaces are transformed into a swirling game of dense and decisive brushstrokes with explosive fragrances.
Even the use of materials extraneous to painting, as in the 'collages', highlights in the author a dramatic component capable of evoking disturbing visions, dripping with blood, which overlapping the background composition, symbol of history, seem to hypothesize a destiny of the humanity inevitably oriented towards catastrophe.
Likewise, when he intends to resume the discourse of spatialism, he then inserts dissonant elements: if the conceptual nucleus of the movement is in a certain sense the overcoming of chaos, in Cortiana we are witnessing the exact opposite; what he manifests is above all man's inability to move towards a future marked by ordered and rational values.
Gianni Barachetti
2002
