"Alternating from one to a hundred and vice-versa" (1993-94) - Alighiero Boetti (1940-1994) AND "Constellations Quartet" 1985 - Dadamaino (1930-2004)
Constellations Quartet 1985 – Dadamaino (1930-2004)
“After cutting away canvases until hardly anything was left but the frame (1958), I began to rationalize my approach, creating an order, although one in keeping with the nature of the works […]. Arriving at a certain point, after solving the problem of chromoreliefs, later I reduced the monochrome reliefs and monomodulars (1974), I asked myself of the geometric and/or modular formation were not a screen behind which to overcome fear and have courage. I took up paper and colours and drew, sometimes stiffening and turning away from the problem […] I kept on working with more determination until I had stripped the research down to nothing but lines […]. Ten, fed up with always taking measurements and making lines […] I started to write, on paper first, and then on canvas. It was a sort of writing of the mind, of my mind: makeup of lines that were sometimes dense and heavily marked, at others imperceptible and skipping, sometimes long and sometimes very short, without any planning in advance, but sensitive of the pressure of the hand that was set free, running and tracing without premeditation. But it is clear that if the hand is guided by the mind, in this case it was guided by the unconsciousness.”
(Dadamaino, “L’inconscio rationale, 1976)
"Alternating from one to a hundred and vice-versa" (1993-94) - Alighiero Boetti (1940-1994) AND "Constellations Quartet" 1985 - Dadamaino (1930-2004)
Constellations Quartet 1985 – Dadamaino (1930-2004)
“After cutting away canvases until hardly anything was left but the frame (1958), I began to rationalize my approach, creating an order, although one in keeping with the nature of the works […]. Arriving at a certain point, after solving the problem of chromoreliefs, later I reduced the monochrome reliefs and monomodulars (1974), I asked myself of the geometric and/or modular formation were not a screen behind which to overcome fear and have courage. I took up paper and colours and drew, sometimes stiffening and turning away from the problem […] I kept on working with more determination until I had stripped the research down to nothing but lines […]. Ten, fed up with always taking measurements and making lines […] I started to write, on paper first, and then on canvas. It was a sort of writing of the mind, of my mind: makeup of lines that were sometimes dense and heavily marked, at others imperceptible and skipping, sometimes long and sometimes very short, without any planning in advance, but sensitive of the pressure of the hand that was set free, running and tracing without premeditation. But it is clear that if the hand is guided by the mind, in this case it was guided by the unconsciousness.”
(Dadamaino, “L’inconscio rationale, 1976)