In the engravings of this ligurian
artist, who started working with graphic media in 1977,
we notice a structural construction based on essence.
He makes mainly linoleum engraving which produces on
the print, enjoyable effects.
(Fosco Monti)
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Arturo Molinari is a conscious draftsman
in a constant balance of formal and artistic expression.
Here he proposes sketches of reality, like common objects
of daily life in the fore ground, gaining conceptual
strength through the simplicity of lines.
(Giorgio Falossi)
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Poor gouge.
I must confess, I am self-taught
in art. I cannot charge any teacher with the
responsibility to have educated me in using the
less sophisticated instrument: a poor gouge.
I know well that a chisel is not that
nobler, but with it you can shape volumes,
I know that a hardwood graver is equally
humble, but with it you can reproduce shadows.
Not with the gouge. But when it carves
the hard skin, when it bites the pulp, it
reveals the many forms hidden in the
material. It rides the sinuous curves
and the straight lines with
surgical precision, no mistake admitted.
In the details it's delicate, light in surfing,
like a boat on the waves, but when the
sketch is done, it becomes impetuous, rushing
to take out the excess and freeing the drawing to express
all its vitality. The hand just sustains, follows, and
the gouge goes: where it touches, where it grazes, leaves
its mark.. At last, the linoleum looks ploughed land,
the furrows spread and melt themselves, it's hard to
distinguish the subject in that beautiful intersection
of lines and arabesques. When the work is done, the
gouge rests and the plate is ready to leave its print,
by mean of a thin layer of ink, over the immaculated
paper. (Aemme)
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