modeling
ENG | IT |
ROBERTO CALBUCCI
WORKS ON CANVAS
ON THE PERSPECTIVE is the title of a pictorial project developed from 2011 to 2014 that is composed of 56 paintings, communicating and uniting through one unique expressive line. Born placing the roots in the thought of what painting is in their representation and structure, in their internal dynamics, in the preexisting and primitive form of thought and vibration, gesture and material. In a process of the "origins" of painting, the consequent development was [ ... ] |
Untitled, Painting 1
"Wave Origin" is a selection of paintings on canvas realized around 2008 and developed from the necessity of research for a new intimate direction and pictorial dimension. A new start for a new beginning... Dynamic landscapes with elements in movement. Little explosions (eruptions) of the universe of "painting"... Primordial and fluid "material" researching its spacial dimension. The gesture and the material in the beginning of the pictorial expression. [ ... ] |
PAINTINGS ON PAPER
P_3 "O-C" # Structure"
"The Order of the Improbable" is the title of a series of five paintings on paper realized between December 2011 and February 2012. The five paintings are titled: P_1 "O-C # Particles", P_2 "O-C # Levels", P_3 "O-C # Structure", P_4 "O-C # Distribution", and P_5 "O-C # Suspension". The “O-C” is an abbreviation for “Order-Chaos”. "Order-Chaos" was the concept and study necessary for the development and for the realization of this pictorial series. The relationship with time and space is the atmosphere [ ... ] |
"Wave Origin" is a selection of works on paper (and paintings on canvas) realized in various years (2004-2013) and developed from the necessity of research for a new intimate direction and pictorial dimension. A new start for a new beginning... Dynamic landscapes with elements in movement. Little explosions (eruptions) of the universe of "painting"... Primordial and fluid "material" researching its spacial dimension. The gesture and the material in the beginning of the pictorial expression. [ ... ] |
WORKS ON PAPER (Continuous Stationary Paper)
In works on paper you will find a group of pages of studies and pictorial expressions of ideas and graphic visualizations of abstractions, realized elaborating ways with different depictions but joined and related between them as a unique large story. These works on paper are comprised of studies, drawings, small paintings and notes born (and realized) in parallel with the pictorial cycle "On the Perspective"; as orbiting extensions and visualizations. Other paintings ... |
Towards the Signs is a fluid expression of the signs and forces in tension and vibration in the "generator field". Towards the signs was born wanting to indicate that essential moment in which the "generating impulse" enters in the field of representation trying to transport the energy and transforming it into visual tension. The movement in the idea, of the idea. Research of the internal tension that develops between signs ...
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Abstract comics explores and develops the narrative potential enclosed in the abstraction and dynamics of the signs and forms. In the territories of the visual representation through which they obtain concepts or general ideas by means of comparison of more particular elements, where every presence, intervention and image create the narration where, at the same time, the speech is discomposed (crushed), jumping in various ...
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1. ... / The Suggestion of the Form | ||
2. ... / Study for Abstract Comics | ||
3. ... / View in the Form |
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1. .../ The suggestion of the form_ (rust sky) [Abstract]. Monotype. Oil and pencil on paper. 2012 2. .../ Study for abstract comics. Monotype. Oil and pencil on paper. 2013 3. .../ View in the Form. Monotype. Oil and pencil on paper. 2014
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STUDY FOR COMIC ABSTRACTION (Drawings)
Towards the Form researches the dynamics of the sign and the rhythm of the gesture the dimensions and the contacts between the parts of the line, creating the route of the research, in the meeting and and the construction of forms. The lines are always a fundamental element of the visual language. The generating idea moves along an invisible line symbolically expressed here with soft undefined contours. The line ... |
1. ... / Towards the Form | ||
2. ... / Composition |
Signs combines works on paper joined from the expression structured in the sign, with the sign, in the abstraction. The sign is a modulated line and the line is the trace of the point in motion; the trajectory of a creative act that expresses the force from which it was originated. The sign is the expression of the force and tension from which it was originated. The generating thought concretizes its "nature" in the sign that is the first ...
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The generating impulse is born from the "movement"; it is movement. Its primary expression is represented here in the "movement", where the "surface of the representation" is visualized as a place of ongoing process, genesis, essence. The surface is an expression of "other" content, and the abstract alphabet is the language used in these places. The abstract representation exceeds the mimetic-naturalistic ...
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1. ... / Motion Land | ||
2. ... / Waves | ||
3. ... / Whale |
1. ... / One World / Vegetation | ||
2. ... / Cell | ||
3. ... / Suspension (This Is) | ||
4. ... / Composed-Discomposed |
Totem is an entity with a symbolic meaning. A totem has a weight and equilibrium intended as a "force of existence". A totem appears as a presence, a materialization of a subject in the place of an idea. The composition of the representation is a structure of forces that holds the totem standing (subject). The composition is based on a "counterpoint game" of more elements that balance themselves: antagonistic forces that are neither contradictory nor conflicting. A series of works on paper with a representative subject-structure centered on the surface to capture the contact point. |
1. ... / Totem | ||
2. ... / Ink Forms | ||
3. ... / Element-Structure-Perspective |
1. ... / White | ||
2. ... / Light Place |
Impalpable places with an undefined imprint moved by the wind of the "generating thought". A mental system in order to touch the structure of the visual existence of the "primary representation of the idea". To take beyond the limits of the imaginary into the patina and in the modulation of the thin veil of material, in the vibration of the barely visible, to the structuring of the subject with vanished elements. In the abstraction the contours of the "generating impulse" are without defined borders. |
1. ... / Dialogue with Abstract Table | ||
2. ... / Minimalist Dream House | ||
3. ... / Expansion Zone | ||
4. ... / Epiphany of the Painter's Canvas | ||
5. ... / Horizon Place |
Place encloses a series of papers realized developing and exploring the representation of all of those spaces and landscapes properly relating to places of an "interior self" and "visual geographies" intended as containers of generating forces of thought and idea. Place is the "place that contains us", it is the "scene of ours to act". "As a scene of our existence, also our "deepest self" has its own landscape: the geometric ...
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1. ... / Little History Land | ||
2. ... / Architecture in Gray Land | ||
3. ... / Internal Dynamic | ||
4. ... / Abstract Land | ||
5. ... / Thinking Sphere (A Story) |
ROBERTO CALBUCCI | HOME | TEXT | WORKS | ABOUT | BLOG |
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Studio 2011 |
ON THE PERSPECTIVE da il titolo ad un progetto pittorico sviluppato dal 2011 al 2014 e composto da 56 dipinti, comunicanti ed uniti attraverso un’unica linea espressiva. Nato ponendo le radici nel pensiero di cosa è la pittura nella sua rappresentazione e struttura, nelle sue dinamiche interne, nella forma preesistente e primitiva di pensiero e vibrazione, gesto e materia. In un processo di pittura "originaria", il conseguente sviluppo è stato di mettere in relazione, nella superficie, gli elementi essenziali della rappresentazione pittorica, quali la materia, il segno, la linea, la “forma naturale” ed i "tocchi pittorici", nella loro natura primaria, concependo uno "spazio aperto" senza obblighi descrittivi prospettici, nel dialogo libero tra le parti. Un ciclo pittorico autonomo ed auto-referenziale del fare pittura, nell’incastro di concetto e gesto, in bilico lungo i confini di un ambiguo mimetismo, in un’avventura di ricerca rappresentativa concentrata su di sé e nei propri elementi espressivi. |
La natura nel mistero di forma e luce, nell’idea di spazi pittorici di superficie vibrante, lasciando la forma indipendente alle masse di colore… “dove va la prospettiva?”. Costruito nell’autonomia di un linguaggio che non ha bisogno di confrontarsi con altro all’infuori delle sue variabili interne è indipendente da ogni naturalismo stretto ed ha in sé le sue ragioni di esistere. I dipinti si sono articolati nella loro specifica natura di linguaggio, attraverso i propri strumenti espressivi, in uno sforzo autoanalitico teso a ridefinire i loro domini, il senso e la loro stessa essenza. |
Studio 2013 |
Studio 2014 |
Ho simultaneamente affrontato il progetto con un’intenzione più concettuale, minimalista ed un’altra più espressiva, espressionista, “romantica”; combinandole in un magma creativo, ricercando l’identità del quadro, investigando nella “sotto - materia”, nell’orizzonte e negli orizzonti, tra segno di costruzione e soggetto - segno. Ho voluto spogliare l’immagine dalle sue ambiguità concependo l’atto del dipingere nell’essenzialità, facendo così elevare lo straordinario effetto metafisico racchiuso nella pittura. Attraverso un continuo dialogo di rimozione e aggiunta di materia pittorica, “scrivendo” con alfabeto di impronte incerte e di tocchi pittorici, il “quadro “ si rivela nel suo percorso espressivo. |
Studio 2014
Percorrendo la strada della ricerca tra i vari strati di cui la superficie è composta e creando un dialogo tra i vari livelli, attraverso di essi, il quadro acquista la sua identità. L’atmosfera con memoria pittorica è fissata nell’impronta lasciata dalla materia rimossa dal dipinto; impronte di un passaggio irripetibile. Sono comparse linee di prospettive multiple e la forma naturale, il segno, l’incastro dei segni e tra i segni, la materia pittorica.
I dipinti sono stati realizzati in “atto performativo”, con rapporto “archeologico” di scoperta delle strutture di costruzione della rappresentazione e dei piani prospettici astratti. Arte = Arte, Pittura = Pittura sino all’implosione per un nuovo inizio creativo, nella libera gestione di una pittura che cerca la struttura nella vibrazione della luce e la forma “smarrita” nella costruzione dell’astrazione. Il quadro è il soggetto, espresso attraverso il segno, come traccia dell’impulso generatore in uno spazio cromatico totale cosmico. Con una libera appropriazione di identità rappresentativa i dipinti hanno sviluppato dichiarate impressioni come di “paesaggi” e “mappe”. |
Studio 2011 |
Studio 2011 |
Paesaggi che non tentano di rispecchiare la natura, producendo piuttosto una struttura che si sovrappone all’esperienza visiva della scena. Paesaggi interiori di luoghi impalpabili, delineati da molte e diverse ed impossibili prospettive(della visione creativa) e rappresentati da molte, diverse e possibili linee per direzioni di più orizzonti simultanei prospettici. Qui la prospettiva è tutta interiorizzata e non è rappresentata esplicitamente.
Una prospettiva di ricerca che esplora la visione, nell’approccio percettivo al “reale-mentale”, nell’istante “visivo - emotivo” dove “l’arte è illusione di spaesamento, illusione di libertà e illusione del sacro” ma concreta vibrazione e sensazione plastica. Linee di orizzonti - molti orizzonti. Prospettive mentali. Momenti della rappresentazione con tracce di piani prospettici diversi e linee di orizzonti per dimensioni multiple. |
Fuori dallo Studio 2013 |
“Mappe” per una geografia di concetto, per orizzontarsi, che cercano nella perdita di orientamento la direzione pittorica, immaginando un significato del luogo-quadro. L’astrazione diventa mappa emotiva, percorrendo spazi colmi di intenzione rappresentativa e dialogando tra ordine interno ed ordine esterno del dipinto, nell’esperienza degli elementi costruttivi primari. La gestualità come possibilità di trovare continua estensione e movimento nella superficie pittorica, dove la mano si aggira liberamente senza obblighi descrittivi sino ad arrivare delle volte ad un segno e colore che acquistano maggiore compostezza, una propria struttura ordinata che permette di “individuare” e “costruire”. |
I dipinti si esprimono con lineare intenzione cromatica, perché concettuale, nell’idea di colore neutro che non sia così soggetto protagonista della narrazione ma “materia di pensiero” in uno spazio estetico concettuale e di colore - idea senza invadenti vocii cromatici. Un dialogo tra le parti, tra i dipinti e gli elementi interni del quadro, segni, forme, linee e tracce nell’astrazione stessa. Alfabeti di tocchi pittorici per molteplici linguaggi e narrazioni per storie in libera interpretazione. Le linee e le masse cromatiche in relazione tra le forme, combinati in un modo particolare, sollecitano il flusso di un emozione. |
WORKS ON CANVAS
In questa produzione di lavori risulta complesso descrivere i materiali utilizzati per ogni dipinto perché sono materiali differenti adoperati con formule diverse e molti dei dipinti sono stati realizzati nello stesso momento facendo risultare diversi livelli di materiale in ogni lavoro. Nella descrizione sotto ad ogni dipinto, "olio e materiali misti" si riferisce ad una combinazione di olio mischiato con altri materiali come il carbonato di calcio, polvere di grafite, polvere di carbone, polvere di marmo, cera, inchiostro, matite, resina, pomice naturale ed altri materiali. Il supporto è tela di lino ed alcuni dipinti contengono parti di cuciture per unire diversi segmenti. Le dimensioni sono arrotondate al centimetro più vicino o alla frazione di pollice.
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EN / IT .
ROBERTO CALBUCCI | HOME | TEXT | WORKS | ABOUT | BLOG |
![]() |
Studio 2011 |
ON THE PERSPECTIVE is the title of a pictorial project developed from 2011 to 2014 that is composed of 56 paintings, communicating and uniting through one unique expressive line. Born placing the roots in the thought of what painting is in their representation and structure, in their internal dynamics, in the preexisting and primitive form of thought and vibration, gesture and material. In a process of the "origins" of painting, the consequent development was to put in relation, on the surface, the essential elements of pictorial representation, which are the material, the sign, the line, the "natural form" and the "pictorial touches", in their primary nature, conceiving an "open space" without descriptive perspective obligations, in free dialogue between the parts. An autonomous pictorial cycle and auto-referential of making paintings, in the joining of concept and gesture, in balance along the border of an ambiguous mimicry, in an adventure of representative research concentrated on itself in its own expressive elements. |
The nature in the mystery of form and light, in the idea of pictorial spaces of vibrant surfaces, leaving the form independent from the mass of color... "where does the perspective go?" Built in the autonomy of a language that doesn't need to compare itself with anything except for its own internal variables independent from every strict naturalism and has its own reason to exist. The paintings articulate their specific nature of language, through their own expressive elements, in an auto analytic effort to redefine their dominion, the sense of their own essence. |
Studio 2013 |
Studio 2014 |
I have simultaneously faced the project with one more conceptual and minimalistic intention, and another more expressive, expressionist and "romantic"; combining both in one creative magma, researching the identity of the painting, investigating inside the "under-material", in the horizon and in the horizons, between signs of construction and subject-signs. I wanted to strip the image from its own ambiguity, giving sense to the act of painting in the essentials, elevating the extraordinary metaphysical effect contained in the painting. Through a continuous dialogue of removal and addition of pictorial material, "writing" with an alphabet of uncertain impressions and pictoric touches, the "painting" reveals itself in its own expressive way. |
Studio 2014
Taking the street of research between different layers in which the surface is made and creating a dialogue between the various layers, through them, the painting acquires its own identity. The atmosphere with pictorial memory is fixed in the impression left from the material removed from the painting; an impression of an unrepeatable passage. The lines of multiple perspectives and natural shapes, the signs, the joining of the signs and between the signs, and the pictorial material, all appear.
The paintings are realized in a "performative act", with an "archeological" relationship of discovery of the structure of construction of the representation and abstract perspective planes. Art = Art, Painting = Painting until the implosion for a new creative beginning, in the free gestion of a painting that is looking for the structure in the vibration of the light and the form "lost" in the construction of abstraction. The painting is the subject, expressed through the sign, like a trace of the generating impulse in one total chromatic cosmic space. With a free appropriation of the representative identity the paintings have developed declared impressions as of "landscapes" and "maps". |
Studio 2011 |
Studio 2011 |
Landscapes that don't try to reflect nature, producing mostly a structure that is overlapping the visual experience of the scene. Interior landscapes of impalpable places delineated from many and diverse and impossible perspectives (of the creative vision) and represented from many, diverse and possible lines for directions of more simultaneous perspective horizons. Here the perspective is all internalized and is not explicitly represented.
A perspective of research that explores the vision, in the perceptive approach of "real-mental", in the "visual-emotive" instant where "art is illusion of displacement, illusion of freedom, and illusion of sacred" but concrete vibration and plastic sensation. Line of horizons - many horizons. Mental perspective. Moments of representation with traces of diverse perspective planes and lines of horizons for multiple dimensions. |
Outside the Studio 2013 |
"Maps" for a geography of concept, to find the way, that searches the pictorial direction in the losing of orientation, imagining a meaning of place-painting. The abstraction becomes an emotive map, transversing spaces full of representative intentions and dialoguing between the internal and external order of the painting, in the experience of primary constructive elements. The gestures as a possibility to find continuous extension and movement in the pictorial surface, where the hand moves freely without descriptive obligations until arriving sometimes to a gesture and color that acquires more composure, an organized structure that gives the possibility to "locate" and "construct". |
The paintings express themselves with linear chromatic intention, because conceptual, in the idea of neutral color that is not the protagonist subject of narration but "material of thought" in an aesthetic conceptual space and of color-idea without invasive chromatic voices. A dialogue between the parts, between the paintings, and the internal elements of the painting, signs, forms, lines and traces in the abstraction itself. Alphabets of pictorial touches for multiple languages and narration for stories of free interpretation. The lines and the chromatic masses in relation between the forms, combined in a particular way, soliciting the flux of an emotion. |
WORKS ON CANVAS
In this production of works, it is complicated to describe the materials used for each painting because it is mixed material which was applied using various formulas for each canvas and many of the paintings were in progress at the same time resulting in many layers of material in each work. In the description under each painting, oil and mixed media refers to a combination of oil mixed with other materials such as calcium carbonate, graphite powder, charcoal powder, marble powder, wax, ink, graphite pencil, resin, natural pumice and some other materials. The support is linen canvas and some contain sewing to join segments together. The dimensions written under each painting are rounded to the nearest centimeter or fraction of an inch.
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