What Cavallini proposes is a frontal image, a pictorial space, with nonetheless, an embossed trend. Alighiero Boetti, who was the first to reclaim the embroidery and weaving techniques in the “avant-garde” world of contemporary art, taught us that, at all times, and in all places, what is crucial in art is a frontal image.

 

According to Cavallini, individuals must loose and find themselves in the universal, “all they really need are the exact vertical and horizontal coordinates”.

 

Its fabric and the use of it do not suggest the typical intensity of assemblage nor the indulgence of the art of contemporary tapestries: for the sensuous material and the robust brightness of its colors, Cavallini’s art relies entirely on realistic and motionless structures. In some cases, these refer to ancient architectural models such as the dome of the Pantheon in Rome. His collection, entitled Infinito Biforcazioni, Frattali e Diagrammi (Infinity, Bifurcations, Fractals and Diagrams), transposes his admiration and trust in mathematical concepts and procedures. Although Cavallini does not avoid passionate moments in his works.

Passion is expressed mainly through color, the strong chromatism existing in the Fractals created in the eighties and in-spired to the colors used by Piero di Cosimo, Pontormo, Rosso Fiorentino … “Architettura del chaos (Architecture of Chaos)”, as Cavallini him-self defined it. These com-positions can be polychrome or monochrome. Another series of his works (also created in the eighties) is titled Biforcazioni: “Perfette strutture catastrofiche” (Bifurcations: “Perfect Catastrophic Structures”) as defined by Cavallini who proceeds with describing them as”… geometric figures, obtained by means of repetition, variation, permutations, principles of symmetry and the application of connecting laws… meticulous calculations leading to figures with the precision of an architectural relief “.

Generally monochrome, they seem to suggest a relationship between the inside and the outside. In the nineties, the Rainbow Catastrophic Bifurcation, shows a sunburst made of a dominant monochrome color overlapping a multicolored layer in the background, although maintaining a certain transparency.

The series Infinito attuale-Infinito potenziale (Present Infinity-Potential Infinity) includes expansive structures developed from the shapes of the square, rhombus, triangle, rectangle, and circle. In this series the numerical system uncovers a musical rhythm stimulating an unceasing eye movement. All the pieces capture the eye of the spectators forcing them in a perpetual wandering of the gaze, nevertheless not lost, because sup-ported by the inner, implicit, mathematical harmony.

Laura Cherubini

Critica d’arte


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