Gorni is among those most dedicated of artists from Brescia, in whose
work they attempt to conceal their strong personality from immediate perception.
It is my opinion that Nino Gorni is establishing himself both for his
seriousness, as well as for his flair, which evinces a profound talent.
His paintings carry the force of rare expressive power. They consist to
two creative models, which, though distinct, become fused into a unique,
simultaneous and harmonious synthesis. This synthesis is of the nature
of precious aesthetics. It is touching by the very force of its contents.
Within these contents appear the interests of human beings, interests
which lead to a profound dialogue on truth. And
because of the truth contained in one's deep restlessness, in one's ever-moving
feelings, this restlessness constantly searches for recognition in the
movements on canvas. It is this restlessness that causes the narration
to be based on the essence and cause of life itself. The first model comes
about at the stage when objects take shape on the canvas.
This is when the area of the painting is broken into its constituent parts.
It is, in itself, highly expressive. The structure of the painting takes
its outline, and its single components are placed in equilibrium. These
individual elements are what gives life to the painting. They are typified
by confident, eloquent strokes which evince an exquisite, basic mastery.
ease of the strokes results from personal development and form an expression
of thought. Although spontaneous, and however much it is the primary reason
for creating such work, this expression of thought is controlled by intellectual
research. The second stage is that of applying paint to the work. Nino
uses a most refined technique of impasto and background painting. We see
tonalities and hints reminiscent of the Renaissance, giving us the impression
that Nino's paintings submerge us in a living atmosphere of lights, shadows
and half-lights. Yet, what stands out in its entirety and all its consistency,
is Nino's originality as a contemporary artist, relating everything, as
in a homogenous whole. He does this in an interplay which is varied and
graced by changes, matching, and thin layers, all closely befitting the
this points to our modern day and age, yet it includes, and dramatically
so, the universe of human life, with its multiplicity of existential meanings;
meanings that in all ages have matured as an interior condition. His themes
are based on common people, especially on sea-farers. This is exemplified
in "The Anxiety of Waiting",
a painting which is crowded with a multitude of people. Their plight appears
mainly on their faces, with each one expressing it to varying degrees.
Then it is perceived in the atmosphere of the painting, in the waters
of the sea, and along the quay, in all its visible torment. It is a grandiose
composition, difficult to achieve in view also of the perspective of space
and depth. Another remarkable work is "Fight
in a Public House". This piece is wide-embracing thanks to
a clever use of perspective. The value of an event narrated in the painting,
apart from the painful episode itself, lies in the different attitudes
of the surrounding figures.