Gallery is exhibiting a painter who is immediately understandable. The human
figure has kept its place in the world of art even when the wind of change
has blown hard to sweep away every vestige of tradition. The human figure
has stood fast, gripped hard, shall we say, to man's need to identify himself
with something fixed, lasting. But also because communication presupposes
the use of a type of language which is neither archaic nor conventional.
Rather, it needs the elements of form and syntax which evince ideas and
make them understandable. This is particularly true of the human figure
in a portrait. Here, subjective interpretation, and therefore representation,
can reach at most the limit beyond which there is abstraction, thus always
remaining tied to the need of identifying the model.
the paintings that Nino Gorni exhibits at Palazzo Patrizi, Accademia degli
Intronati, tradition is not upheld by a mere exercise in composition or
by the canons of rational proportion aiming at empty aesthetics. On the
contrary, it is a view of the everyday portrayed at a level of understanding
which can be immediately grasped even by the uninitiated. However, Nino
Gorni, always tries to go beyond that which is apparent to the eye, even
when painting portraits, that most limiting of genres of the artist's
ability. Nino underscores the furrows of time on the faces of the aged,
even to the point of bringing his subject to surrealism, and thus achieving
his own very personal type of portrait. His objective is to communicate
by means of objective perception without, however, surrendering the prerogative
of creative freedom. For this alone translates the human figure from factual
recording to the broader sphere of poetry.