Duccio Bombardini is a contemporary artist who embraces life with eagerness.
This drive, his élan vital, to use Bergson’s words, takes shape in the pursuit of a constant redefinition of himself through art. This quest revolves entirely around color, with personality being defined through the progressive action of the spatula. It is a targeted action, instinctive and rational at once, that constructs a brilliant and harmonious chromatic fabric—never loud—suggesting vibrant spaces where the imagination materializes into forms.
Drawing, which the painter always realizes by following the good rules of the art workshop—progressing over time from the idea, to the sketch, to its elaboration in scale as a study, and finally to the definitive version transferred onto canvas with the spolvero technique—this drawing, as we were saying, always presents a bird’s-eye view, which recalls visited places, lived experiences, and resurfaced memories.
Duccio Bombardini’s narrative is now offered to us in this first solo exhibition, which he reaches, though very young, with a pictorial maturity that shapes a perfectly recognizable style. Being color thus becomes the manifesto of his personal, individual, and artistic growth.
The large canvas at the center of the tale narrated by Duccio, beginning in black and white like a flashback, speaks to us of a pleasant place of amusement, where one can lose oneself in the search for memories gathered from childhood. Works of similar scale again present us with crowded scenes populated by small figures—tiny presences moving within an intellectual, metaphysical plane, rich with cultured references to Flemish painting.
This exploration, which began with observation and work from life—as in the series of Little Trees—now unfolds openly in medium-sized canvases, where forms are freed and intertwined through the exaltation of color. We are at the point of fusion between the inner and the outer, at its overcoming. This transcendence, the sublimation of being, always occurs on the threshold, on the ridge that separates and embraces the dual vision of the world.
In this way, Duccio Bombardini speaks to us of Expressionism and the Impressionists, articulating this dualistic uniqueness while soaring like a contemporary drone through the History of Art—always on the threshold of everything, even of last century’s vexata quaestio: the Abstract/Figurative dichotomy, which he brilliantly surpasses, resolving the existential riddle through the natural flow of craft, of color, of discourse.
A personal discourse, one that he shares, we believe, with the mutual and complete satisfaction of both the artist and the public.
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