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Andrea Randi

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Andrea Randi Artist Bio

The language of an object between function and poetics Andrea Randi’s sensitive style of painting highlights the nature of reality in its clear and undeniable existence. The first thing to strike the eye of even the less attentive observer when admiring the artist’s work, is that reality exists. It is not the creation of an emotional state or opinion; it is an understanding that reveals the value of its consistent and founding essence, in both its figural state and conceptual implications.

This is not insignificant if you take into account the often fictitious and uncertain nature currently surrounding the definition of reality interpreted in its objectivity. These premises form the basis of Andrea Randi’s pictorial musings, which set themselves in sharp confrontation with reality, starting with the heavy emphasis of the object in its plastic consistency.

In this case, evocative paintings portraying representations of everyday objects are indicative and revealing of his poetics. In these works, the relationship between detail and its context is fundamental. Looking past the naturalistic evidence, the same representative clarity triggers stimulating questions about reality, about its essence. Perhaps elusive in its deepest truth, it is clear and persistent in its factual dimension. Randi chooses to express himself within a consolidated path in which figuration, distanced from the spectacular presenteeizm of pop culture and the controversial stresses of a certain social realism, pursues a more analytical purpose in which realism focuses on the object and its accompanying intent meditations.

From this point of view, the evocative symbolism of Domenico Gnoli and the lenticular visualizm of Claudio Bonichi are revealed as having a certain relevance to the artist, without forgetting possible references to the idea of hyperrealism, even though they may be rarer and more contemplative. Randi’s painting is further fueled by his own personal reference to the plastic, tactile values typical of a certain style of painting, an alternative to the impressionist cult.

In this sense, this highlights the importance of the drawing as a focal point for shape and composition. However – it must be noted – without any rhetorical or virtuosic smugness, but simply with a sense of solid and consistent choice of style, because it is through his drawing that the artist reveals his vocation for in-depth exploration of the object and all of its many facets, which can easily be interpreted and realized without the need to refer to cubist syntax, hallucinatory surrealism or even the more considered forms of magical realism. Indeed, for Randi, painting does not evoke dreamlike atmospheres, rather it pursues reality from its most problematic side, that is to say its cumbersome yet enchanting presence.

So the logic of the very revealing detail of Randi’s intimate visual poetry becomes the emblematic style of an inner search, a psychological exploration in which, almost absurdly, the reality, so dense, so objectively evoked and unquestionable, acquires almost metaphysical traits. The artist’s painting expresses the power of a suggestion that, separated from the subjectivity of emotion (or skilfully concealed) expresses his idea of beauty that is most noticeable in the restful pastel shades, the bright atmospheres at times bathed in oblique and incident rays and in the silent rhythm that shines through his velvety compositions.

Painting therefore that is like a vigilant introspection on the objectivity of reality, on its consistency not given once and for all, but constantly inspiring observations, thoughts and feelings that in Randi’s case have the opportunity and good fortune to become tension of style and form.

Artworks for sale: Painter, A good relation, Sheep's head, The red boat, Notturno milanese, My brush in late afternoon by Andrea Randi

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