The other new narrative possibilities of the matter and form of “things”

by Matteo Galbiati

To address the critical analysis of the work and research of a contemporary artist, it is not always necessary to have to relate and connect the artist to the experiences of the great masters who preceded them, and who constitute the cornerstones of their aesthetic vision, to frame and, sometimes, justify their methods. Each one has indelibly inscribed those cardinal points in their awareness that are, for him and his ways, the orientation of a singular intimate and exclusive path and that represent a close thematic, experiential, iconographic, suggestive and intellectual proximity. In this sense, therefore, there is no need to determine the historical boundaries within which to place the work of Sandro Magnoler, whose works are able to effectively determine a reference to the historical course that extends from the twentieth century to the present.
We make no references or evocations to history precisely to avoid tying his expressiveness too firmly to situations and contexts that could become a real limitation to this first observation that we are about to make regarding the entirety of his research, taking as evident the sources and origins of his thought that, not betrayed and not hidden, must not even become a conjectural limit.
We will focus, then, on the artist’s desire to open up to the imagination of the gaze of those who encounter his works, and to that universe of suggestions that they are capable of producing and arousing by embracing, with a defined and precise awareness, the heart and feelings of the other. Each of his works seems to catalyse, dreamily in its manner, procedurally in the concreteness of the reality, a phenomenology of “impressions” that continually shift their framework from the emergence of dormant memories and inner thoughts to the certainty of the concrete truth of the state of “things” that usually appear to us in our daily life.

It is important to perceive (and follow) that solid common thread running through each of his works and that, surpassing a different aesthetic formalism, a different constructive and constitutive conception of the single work, unites them all, celebrating a natural and instinctively necessary coherence. The result of a precise manual dexterity that accommodates the necessity for reflection, each work becomes a stage for narratives that never condition a priori the interpretation pre-determined by the author, but, on the contrary, are offered as a suggestion, as an initial starting point for expanding the panorama of an interpretative horizon that, enriching itself with the interpretation of others, amplifies its own expressive and visual potential.
One of the significant traits of the research of Magnoler is precisely this experience acquired from the examples of masters who, when internalised, informed him in developing and refining his language that can accommodate, from time to time, different attitudes depending on the materials, objects, colours, and shapes that it uses. The energy of his feelings becomes a constant commitment to recreate new conditions to attest to the testimony of a past and a human experience that, purified and sterilised from its actual limit, tries to reveal itself as universal; multipliable in the association and in the deduction of those who know how to, and want to, immerse themselves in the infinite expressive potential of his work.
In this sense, the artist knows how to prepare a stage of emotionality, memories and presences that restore a current contract between the concreteness of visual reality, caged in the truth of the senses, and the transcendence of knowledge, free, on the other hand, to wander in the infinite territories of the mind and consciousness.
Magnoler proposes works that are an active and living source, a wellspring of a flow of impressions that expand assimilating the influx of “that other” thinking that cannot be intuited by the artist, but that he knows, and must, receive through implementation of each of his works. This “ecumenical” welcome, which he grasps and which he invites us to try, is then nourished through infinite tributes of meaning that derive precisely from the needs of the observer. The painting is the point of convergence of other temporalities, of other environments, of unpredictable experiences that lighten the concreteness of the truth to benefit a specific desire aimed at the constitution of that ideal and absolute visual imagery.

In this sense, in fact, his paintings are never simple citations or easy metaphors, Magnoler never specifies them in their effects or even determines them: instead, he limits himself to deciphering a “something” that results in a scrupulous and almost obsessive interpretation of the material, its forms and its constituents. When subtracted from the inevitable and unstoppable flow of time, from the contingency of truth, they expand their essence (form and matter according to the sensitive data) and shift their framework in a continuous act of re-creation of which the artist, before being the creator, is the decipherer.
Magnoler accesses, in and with his works, the wide range of the emotional palette of the human soul, exploring those different aspects of the materiality of the world that is staged to dismantle a pre-established and predetermined script. He allows himself to be conquered by the slowness of time, its transformative action, re-entering a cycle of new possibilities and unpredictable variations that deeply touch our emotions through the infinite degrees of other narratives, other stories, other experiences of life that have passed. We should be aware of his constant commitment to accepting (and ascertaining) the key data of human existence, in which time grants the natural transformation of everything: the principle of Nature remains as a superior architect capable, in its eternal logic, of inevitably changing all its things and all its presences.
It erodes matter, transforms spaces, cancels existences and generates new ones. Here, the artist strives to fix a moment of transition before an inevitable disappearance or another new apparition: he stops at the limit of uncertainty and fragility, when, in the mutation, the status of things is altered and, here, before everything is done, he knows how to read that vibration of precariousness that touches our soul to be finished. The painting incorporates the dialectical contradiction of matter and colour, form and substance; it does not reject, it does not act with proactive violence, but knows how to lighten the tangibility of a corruptible concreteness to give us access to the incarnation in the absolute founding principle of thought. This is definitely universally eternal and incorruptible.