An artistic research of extreme quality permeates Giuliano Dal Molin’s works: we wish it could be called “Creative Preoccupation”.
Every one of his works is actually produced as if Dal Molin was pursuing and was carrying out an endless experience which he has poetically dedicated to the investigation of the Space seen as Form. Dal Molin’s work is emblematically characterized by this sort of Silence, which belongs physically to the work itself; aware of what it has, his work brings it with and takes it, so as to generate the idea of a New Aural Space in the observer’s view.
If we link these works to a historical or minimal structuralistic vision, we would belittle their Essence and dismiss the artist’s very personal interpretation of Volume, Form, and their transformation into Works.
We want instead to remember the sign on the surface of some of them. It turns from a geometrical shape into a module, a rhythm, multiples organically and becomes an infinitesimal text which directs Light by means of Paintings: it leads the eyes and decides the incidence of atmosphere on surface.
In Dal Molin’s “Structures” we can perceive the Cadence of square and that of the intersecting line which goes through his work’s surface, wraps it up, determines it, and legitimates it physically. Overcoming a first phase of chromatic neutrality, the eye seems as if it were invited to glance over line. It thus finds “Colour” and light and discovers how much is denied and how much is delegated to the text, to “epidermis” which has finally become Body.
By means of painting and of the “image” creation, the artist’s research in these works confirms constantly the poetical sentence that images and their developments live essentially on Light more than on their very body. The volumetric geometries cannot be investigated any more in an essentially rational way. They become beings which are motivated and built also by light variation and by the paint incidence on surface. It penetrates surface till it becomes that fundamental substance of the structure, the “pulsing being” of the volume.
The geometrical shape and the dimensional solid lead to symbols and to an eye expansion linked to a Module reading. Dal Molin’s recent works are however characterized by the Imperative Form of this research.
The new problematic does not however exclude the previous one and makes it develop, vary, and paradoxically enrich itself by means of removing some values.
The loss of narration – which we ascribed to Module and to square – becomes in this works the “Creative Preoccupation” we mentioned before. The artist’s preoccupation is due to the vanishing of image which provided for a more immediate reading of his works by means of describing and legitimating its structure. In apparently monochrome-surfaces everything seems to be committed to the canonical definition of the volume and space. The eyes have nevertheless to judge Absence and Silence. Apart from the Pure Contemplation of Dal Molin’s work, the observer “Alone” will face the Fact, he will face the Place created and produced by the artist. He will face a religious simulacrum of Silence that – in – between poetry and Suspension – generates a New Chromatic Chant.
It is a light and incisive lyric, a partial accent, an accent of Colour-light which does not go through Surface any more, but penetrates it and gives it a direction. We can musically defines these works as “Variations on a theme”; they can be actually seen as pondered variations, counter-melodies of the formal solutions previously reached. “Image” has not been set aside or removed. Instead it seems to have collapsed, vanished, worm-out bye yes and led inside. These works reveal – under and “in the surface” – the delicate Nature of Narcissus” pond, where Images delete themselves, emerge again and vanish like oppressive ghosts of poetry. Or they are mute dream-makers which encounter the moment of th eye and then return to darkness, to the fogs of Memory. (Venice July 1993).