“Wednesday in Gorizia”/“Thursday in Trieste” constitutes the subject a small diptych that Paolo Mariani felt the need to elaborate in two stylistically rather different versions.
The first version executed in 2022 is very graphic and dominated by a prominent black grid, which, schematically, we know represents in the author’s poetics, every material impediment that stands in the way of the spontaneous and harmonious enjoyment of nature and life.
The second version, executed in 2024 and unusually painterly, seems to suggest a desire to recover that memory by focusing more on the evocative power of atmospheric elements.
The first version executed in 2022 is very graphic and dominated by a prominent black grid, which, schematically, we know represents in the author’s poetics, every material impediment that stands in the way of the spontaneous and harmonious enjoyment of nature and life.
The second version, executed in 2024 and unusually painterly, seems to suggest a desire to recover that memory by focusing more on the evocative power of atmospheric elements.
I had arrived in Gorizia late in the morning accompanied by huge clouds that were constantly alternating with the sun succumbing within moments. This “titanic combat” had lasted all afternoon producing fantastic colors and surreal figures in the sky. In the evening I had moved to Trieste without imagining that the next morning I would find those incredible skies, masterfully reproduced over the sea. It was a total reversal of real and illusory perspectives with the complicity of a blinding sun that prevented the characterization of a certain and reassuring horizon.
Both diptychs consist of 35×50 cm canvases.
Originals of the 2022 version are no longer available. It is still possible, however, to obtain multiples on satin at PolymetisContemporanea
Originals of the 2022 version are no longer available. It is still possible, however, to obtain multiples on satin at PolymetisContemporanea
