carlo bertani - betrix

Artist entered 15 January 2012

Profile visitors 69953

Send email

Website>>

Just to clear the field from all those possible prejudices that normally affect the understanding of artistic activity, as for example those useless diatribes on the figurative or not that over all deny a possibility assessments, we believe it is necessary to clarify those aspects that were formerly Betrix activity. Many have in fact known as figurative painter of strict observance which produced for many years a repertoire of traditional image, such as: landscapes, still lifes, fritratti. It is therefore natural that they are at least surprised when they are found in these works, which we are very pleased to present in this exhibition. Betrix is therefore a new proselite abstract? There is perhaps an abjuration of his past ideas? How to explain this step so radical a ismo toward each other? These and other questions are certainly been asked by his old admirers and, certainly, have found themselves only of responses. We think that the change was normally consequent, because the problem of his artistic output relates directly to the life of man, as Betrix as artist and also as a professional. As is known to many, Betrix is Coagula; under pseudonym questyo hides a serious professional and very prepared, which was an important leader and a fashion designer at one of the most important national carmakers. Betrix is a man of many interests, of course with an artist's temperament, as well as deep technical knowledge and theoretical esperimentate. Until yesterday Betrix has always used the painting as described a consolatory Act and his attitude was ultimately a poetic response to the environment of legitimate fabbrtica, alienating, in his own way in which he felt forced to work and produce in continuity of the strict observance according chemi economic and consumption. After many years of professional work brilliantly Betrix concluded his industrial cycle and for him it was obvious with full dedication towards addressing the choices of freedom dsell art. Those choices that assume a great awareness and experience of problems and phenomena, as they do not undergo conditionings but only reasoned opinions. Exactly in this nodal paras began to mature reflections Betrix and meditate, via-via, it led to new research directions. In making an assessment of its past activities realized that the universe is contained in the aesthetic. Furthermore he realized that his work "stylist", practiced in many years, had important experiences to evaluate critically and carefully consider, as well as her activity as a painter was to rid the psychological limits of consolatory activities. The problem of art has become to engagement and Betrix in order qualify culturally had to overcome those limitations, concocting a rewarding discipline, and a strict methodology, which was able to produce functional works with aesthetic solutions. In this transformation, many things have changed, according to a logic that introduced Visual, meaning more current term, towards structures: because the structure is not thinkable as accomplished and motionless, but as "structuring consciousness". The presence around us by huge array of formal elements, which were used and which affect every minute our gaze, led him to prefer slcune rather than other structures, and the search took him almost unconsciously recovery dcei mathematical and geometrical values, melded with the world of painting. His work has thus taken on an autonomous manner and signifier, and in these directions you came to make clear in his mind that random point of contact, but that existing scienzaq to modern art, which is of fundamental importance because it marks the moment to clarify Division of his disciplines in activities that are converging. In his painting the different meetings do order creative, mathematical and geometrical, played a decisive role and lived in a space enucleandosi suggestion, always invented and defined by the boundaries of the creative imagination that is capable of processing progressive combinations of Visual order. A careful author as Betrix could not miss the direct comparison between different and contrasting feelings well and his work bears the imprint of these changes and verifications, in a continuous assimilation is always checked. Betrix in new formal compositions updates a intention that finds, in its past of man and as a designer, from the deep roots and moves research through resolutions along an arc, which limits the rationalism. Today it is still served by certain problems of lyricism and synthetic annotations, because he understands that in these two modules there are many variations. Nonetheless, his paintings represent proportions harmonics and ordered that segnao the passage, from an attitude of psychic intuition, towards the establishment of a planning and constructive intent. This alteration is also an outdated academic distinction between the various expressions, in a release of the narrow limits of schools; for Betrix: ka painting is in its own way an object and the object becomes conversely in pictorial discipline. The output of the industrial world Betrix has meant to him the liberation from the problems of competition, trade, consumption, from everything that set of searches that are down to the detriment of those really new and real. For the globality Betrix is now providing space through the plasticity of form and light, and its surfaces are only taking the tools developed by the culture, communication, vision and to become works of art. For this point of time itself, technical scientific and historic, strictly a joint that is designed and constructive. We therefore once again assert any "ISM" on the works of this author, future developments will bring us to the conclusion that we already do: time will give us reason.

October 1975

Franco Passoni