{"id":614,"date":"2022-10-18T12:31:53","date_gmt":"2022-10-18T10:31:53","guid":{"rendered":"https:\/\/galleriadoppelgaenger.it\/exhibitions\/a-spasso-per-campi-cromatici\/"},"modified":"2022-10-25T10:45:29","modified_gmt":"2022-10-25T08:45:29","slug":"a-spasso-per-campi-cromatici","status":"publish","type":"exhibitions","link":"https:\/\/galleriadoppelgaenger.it\/en\/exhibitions\/a-spasso-per-campi-cromatici\/","title":{"rendered":"A spasso per campi cromatici"},"content":{"rendered":"

Je dis\u00a0: une fleur\u00a0! et, hors de l\u2019oubli o\u00f9 ma voix rel\u00e8gue aucun contour, en tant que quelque chose d\u2019autre que les calices sus, musicalement se l\u00e8ve, id\u00e9e m\u00eame et suave, l\u2019absente de tous bouquets.<\/em>
\nSt\u00e9phane Mallarm\u00e9, Crise de vers<\/em>
\n(da Divagations, 1897)<\/em><\/p>\n

What is the act of saying \u201ca flower\u201d equivalent to? Try saying it to yourself and then imagining it. A flower. In our mind one or more specific flowers cannot but materialise; vague images perhaps, yet recognisable: the petals, for example, will have a certain form and a given colour. I might have in mind a buttercup, someone else a passion flower, someone else a rose. Ordinary speech and thought make words into a currency to exchange information; for example, the features of a rose, a passion flower, a buttercup that my interlocutors and myself have played at imagining.<\/p>\n

Yet, outside the circle of ordinary speaking and thinking extends the potentially unbounded domain of poetry. So, let\u2019s rephrase the initial question: what is the act of poetically saying \u201ca flower\u201d equivalent to?<\/p>\n

In revolutionising poetic function through a hierarchical and antirealist overturning of a word\u2019s meaning and resonance, Mallarm\u00e9, himself a passionate gardener and horticulturalist, never wrote the word fleur, nor the more specific words hyacinte, myrte or rose (Les fleurs, 1887) without aspiring to the suave idea itself of a flower, that idea which is absent from every bouquet and which only arises musically from the pen of the poet.<\/p>\n

Ut pictura po\u00ebsis: the garden that pictorially arises from Ga\u00ebl Davrinche\u2019s brushstrokes might have precise features \u2013 from the ink flowers that make up the taxonomy of a Herbarium to the almost hyper\u2013realistic ones in Nocturnes \u2013 nevertheless, it mustn\u2019t be taken as an essay in floral representation. Yet \u2013 fascinating paradox \u2013 the unity of the idea is obtained through the multiplicity of its manifestations, and through a work of syntheses, as demonstrated by the different pictorial styles to which Davrinche has accustomed us, and which he masters with consummate skill. From blinding realism to Dutch and Neapolitan Still Life, to the unfocused image \u00e0 la Gerhard Richter; from the expressionistic distortions that recall the Neue Wilde to the flat colours of some of the corollas that are a clear homage to Warhol, and ending with the pure abstraction of the forty Chromatic Fields, in which, unexpectedly, the artist decides to sit at the same table as Malevi\u010d, Mondrian and Rothko.<\/p>\n

Beginning with the title itself, the exhibition announces a passage, not so much a stroll through flowering meadows, but more of a \u201cdigression\u201d, like that of Mallarm\u00e9 whom we quoted at the opening of our text. As often happens with Davrinche, we are witness to a creative flan\u00earie in the history of painting in which the flower remains one of his most frequent subjects.<\/p>\n

There is only one figure in the whole corpus on show; it appears in the painting The Stroll: a man in the guise of the artist\u2019s alter ego, along a path of synthesis, from realism to abstraction, where the French painter reveals his poetic \u201cI\u201d as the authentic subject of his own work.<\/p>\n

Vittorio Parisi<\/p>\n","protected":false},"featured_media":208,"template":"","meta":[],"exhibitioncat":[13],"class_list":["post-614","exhibitions","type-exhibitions","status-publish","has-post-thumbnail","hentry","exhibitioncat-past"],"acf":[],"_links":{"self":[{"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/exhibitions\/614","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/exhibitions"}],"about":[{"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/types\/exhibitions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/media\/208"}],"wp:attachment":[{"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/media?parent=614"}],"wp:term":[{"taxonomy":"exhibitioncat","embeddable":true,"href":"https:\/\/galleriadoppelgaenger.it\/en\/wp-json\/wp\/v2\/exhibitioncat?post=614"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}