When I get home Painting

Andrea Randi: 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 presenteeism 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 visualism 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 fuelled 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.