Marco Paladini

Criticism

"(...)Yes Painting, Painting...an interpretation. No longer referential, no longer a naturalistic element but a non -objective, self-questioning one. Representation is no longer present, making way for "presentation".
Paladini in his works alternates "virtual" planes and real ones. The real plane and the virtual one create a "Mimesis", a dizziness (on observation nothing is sure but everything is possible). His superimposed paintings or oils with their naturalistic features partly bring into question the way of observing, that has in recent years dealt perceptively with reading the pictorial text.
No explanation, no memory to justify or motivate his work, a work that exists in its serialisation, where one's shifting gaze reacts as if it were an elenment of the work itself.
Marco Paladini uses a movement from exterior to interior of the work (historically un impressionist gesture). But the work is autonomous, detached and this "movement" too experiences a sort of collision course; lines become planes, grids. It is as if the work produced a sort of vanishing point, a sort of perspective afflicted by a tectonic imbalance, a "bradyseism". There is a play on perception, a perception that produces illusion, but also body, depth, matter...colour, timbre.
Paladini is aware of this. His painting is revealed step by step, slowly progressing from gaze to application of colour and vice versa. One work: "In search of the time of the lost holy Grail", is perhaps the only one with an inevitable reference to history and its memory (a touch of naturalism). But the others Untitled, Untitled... (...)"

Marco Gradi

[Extract from catalog Marco Paladini, Corraini editor, 2000]