1988 Exhibition - Castello della Castelluccia - Roma

The sign that determines the works of Fausto Bronchi is the essential tool to allow him to realize his pictorial and spiritual intentions. A "calligrapher impulse" to give body to his ideas and to transform the lines of his formal description into a vibrant reticular system. From the informal that left conventional meanings to his work of composition to the object (de-structured) to draw modules of new organicity and after having tried, with results of great visual effectiveness, the inclusion of other materials on the design level, Bronchi moved on to a more complex arrangement of the treated theme and the painted tableau. Currently the organization of his sign makes use of the skilful and systematic use of color, another fundamental component of his work. It is precisely a reappropriation of color that the artist proposes to us with the certainty of significant results. The forms arranged on the surface of the painting have no precise determinations in reality if not the illusions of our mind which seeks a reflection of the truth wherever we proceed to the external regulation of a (interior) plot. They tend to arise from color respecting its tonal needs and are always unpredictable, always unexpected, but still natural. The relationships that have been created between the author and his intellectual product lead to the identification of a particular language where the fragmentation and complexity of the stroke do not interrupt the pictorial dynamics, in its mysterious expansions. And it is certainly the colors that suggest the forms, finding their fundamental essence in them in an exchange of values ​​and possibilities that is rich and vital. The movements are soft but not labile and the chromatic range does not disturb the work that has been aggregated on different areas with violence or syntactic irregularities. In fact, it is space that overlaps, fragments, arranges itself according to the cases of thought, which leaves nothing to improvisation. By communicating his programmed unreality through his models, Fausto Bronchi underlines the metamorphic value of his painting where decorative taste is not exempt. We can find various anthropomorphic or phytomorphic allusions (from the human body and vegetation) to an endless story that influences our senses and our understanding. The rhythms of color, alternating on the range of the lands and then abandoning themselves to the pleasure of chromatic freedom in the heart of the painting, have been able to elaborate this symbolic writing, happy or dramatic, lyrical or nervous, like a psychoanalytic test that involves and convinces. And also for Fausto Bronchi, as for all true artists, the expressiveness of the visual media is therefore not resolved in a pure perception but reaches the exact "conception" subtly disturbing in the rationality of the informative motif.