/  E M I L I A N O   B A I O C C H I  -  I N N E R   L A N D S C A P E S

October 27th - November 17th 2014.

A solo exhibition at the European Commission in Brussels, Belgium.

When he first arrives in Berlin, Baiocchi is fascinated by his new hometown. The series Cities he already began in Italy acquires here more details and movement. Every composition gets filled up as if real live sceneries had to be carefully depicted. Through a puckering process, his most typical touch (one may call it in accordion), Baiocchi succeeds to bring every little content he wants to describe into a painting. The first dimension is often dense and structured, providing many elements to decipher its matter. When the viewer manages to stretch out the image, he reaches a full perspective. Just like when you get intrigued by what you see through a window, you'd need to enter to determine what is actually happening beyond.

After a few years, Berlin's new lifestyle made of discovery comes to an end, slowly starting to mutate Baiocchi's work. Becoming more reflective and introspective about what surrounds him, his paintings seem to get rid of some obvious representations and signs. The whole approach gets more impulsive, casual, and the colors even more contrasted. As if looking for some changes, the technique itself is diversified and enhanced with other media, such as oil as materia prima.

The paintings are now accomplished under new emotions and it results into an experimentation phase where the artist goes above expectations. This is indeed a time where he dedicates an entire year to achieve a drawing a day: a regular field to fulfill his many attempts, marking a perfect transition to what was about to become a series of untitled paintings: grown, mature and major in the artist work history.
It is now time of genuineness, when the previous need of satisfaction that turned to revealing inspirations must be confronted with the only truth: Nature. Sometimes even roughly conceived in the woods, Baiocchi's last artworks mainly represent Forests. As the subject implies, collected organic elements are also integrated on the canvas, like tree leaves for instance. Once more, the viewer gets easily immersed at first glance into the picture, and trying to roll out the image will surely give the rustle one might be looking for.

Compared to the former Cities, it is like purity taken back from the artificial sphere for a more authentic interpretation, for a possible way back to the roots.


GALERIE MAZZOCCA | contemporary paintings © 2014. All rights reserved.