Tiziano Martini
Tiziano Martini's research is comparable to Dr. Frankenstein's "creative heresy": the artist dissects, extracts and stitches back together, not to obtain a reality inscribed in normalized canons, but to shape a new creature, concentrated coagulation of a synthesis process visual. The real still remains Martini's initial reference, which however is immediately mediated by a personal gaze, which soils the geometry of the visual fragment with impressions, memories, shreds picked up by chance, captured by the canvas and subjected to a forced mutual clash; a scenario therefore emerges, which is not an attempt to mimesis with an ideal nature, but a sort of psychological landscape, which records the nomadism of Martini, who passed from the quiet of the Val di Zoldo to the urban landscape of Milan, up to the German one of Leipzig. The visual fragment, cut and recontextualised, defines a new image, which does not present itself as rigidly descriptive, but deliberately ambiguous, bearer of an aesthetic of doubt, which leads the visitor to linger on colored meshes which interrupt an apparent uniformity, material clustering, clash of broken lines, pop-ups that burst like lightning. The ambiguity - understood as an interpretative openness - of Martini's images reveals a continuous dialogue between reality and oneiric dimension, terrain vague where memory, drive and reinterpretation merge, and act as tools for rereading a reality which, if approached only with the tools of eurythmic and rational vision, reveals itself in all its poverty.
