The Sign as Shape and Colour
curated by Paola Gennari and Paolo Tosti
Giuliano Dal Molin’s art is spiritual; his works are a material representation of his being. Multiple souls exist within him: the mystic soul, the silent soul and the meditative soul. From the very start, his work was created through craftsmanship, having original and generative capacity; he shapes the material, the wood, with his own hands, only to transform it into an elaborate work of primary and essential shapes. His source of inspiration is himself, the fact that he is an archaic man, primitive in purity and in gestures, with no frills, conventions or styles. He simply follows his own instinct, accompanied by faithful solitude. Dal Molin essentially works with four fundamental elements: light, shadow, shape and colour. Two diametrically opposed personalities exist within him: the one that favours white, as a principle of cancellation, and the one that favours monochromatic colour, expertly applied without nuances, as an extreme spiritual synthesis of combinations, contrasts and silences, only to reach the superior stage of purification. Dal Molin possesses a great mastery of colour: he is inspired by the great masters of the past such as Giotto, Beato Angelico and Piero della Francesca, personally interpreting infinite balanced colours, always different and contemporary, mixing natural dyes of pure colour in powder, with acrylics and pigments. He uses monochromatic painting as a triumph over the subject-painting, as an absolute space in which to immerse oneself, to meditate and to become lost. In his works, space-time overcomes the immaterial. His is an immanent art. Dal Molin’s works are the result of absolute formal synthesis that aims to reach the primitive essence, removing any superfluous element, as he constantly desires and seeks the pure form, enabling him to grasp the aura of artistic composition. Curved and sinuous lines coexist in symbiosis with straight and geometric ones: the relationship between sky and earth is present in all his art. He denies any reference to the physical presence of objects in the material world to favour the sinuous and soft curve present in nature and the straight, geometric and angular line present in the sky. His works are not painting or sculpture or bas-reliefs, but true distinctive signs that, once positioned in space, interact with their surrounding environment, dialoguing with the objects around them, becoming an integral part of them. The effects of the passage of light in his works, over the period of a day, are also studied in-depth by the artist. His works are in continuous metamorphosis; they are never the same. By shaping voids into solids, he creates forms of light and shadows, transforming his work into a lyrical and poetic emotion. His artistic trait is very much his own, unique and unrepeatable; he stands out for his extreme simplicity and sensitivity, the abstraction that derives from it is soul-like, thus of the mind and of the spirit.
