GIANFRANCO BIANCHI artist

They say about him (in English & Italian)



Lodovico Gierut

Art critic, journalist and writer


Presenting this monograph in summary, moreover clear in its contents and also qualified by the presence of colleagues, including other signatories of culture, is like meeting him again to talk not only about mutual friendships in the artistic and musical fields, which are the same thing, of exhibitions visited or of that poetry which is part of his daily journey, but to underline its coherence, an essential gift for every artist considered as such.

Coherence is is a word that is part of my vocabulary when I am about to analyze the Work of each creative, whatever its dimension.

Perhaps whoever is reading at this moment will wonder why I emphasize this word but it is easy to say: it is a time, ours, full of lights but also very gray.

In fact, think of how many painters, sculptors and others become copyists of themselves, as I have already stated on more than one occasion, sometimes out of tiredness and relaxation and in other cases by repeating subjects with which they have also achieved economic success until their deterioration.

It is certainly not the case of Gianfranco Bianchi whose expressive passion, which started from his skills as a musician, has long since appeared on the great creative stage with, and I repeat, a coherent path. His journey possesses the logic of a thread that was born from musical ideas, it is fair to underline this, then forged by his own grammar composed of accents whose range of action is purely communicative.

His professionalism is continuously materializing in images supported by a color / shape on which I do not dwell extensively due to the clear purposes, of which others have already exhaustively written over the course of time.

It is however a strong and sweet color at the same time which differs in its naturalistic continuity and is completed with a linear synthesis of form and content totally devoid of frills, calibrated pictorial fruit full of an action where – authoritatively going beyond the decorative /illustrative which is conveniently not eliminated – delivers to the observer/user that significant “symbol” which is Art.

Still scrolling through his well-known and appreciated themes, be they related to climate change, the microcosm, galaxies and so on, I cannot however fail to mention some intelligent installations made over time in well-known places such as that of the Casa del Mantegna in Mantua, entitled "The Bonfire of Culture".

It was certainly not accidental since he decisively revealed that commitment stitched to the preservation of memory, and what its components are.

It was, I remember it very well, like a sort of only apparently muffled cry: it is there, with that “Bonfire”, that Bianchi condemned the madness of totalitarian regimes that have suffocated and still suffocate freedom of expression; it is there, I want to repeat it, that he still affirms today the importance of unifying and dialoguing cultural advancement for the continuity of the human being.

I think it is right to praise Gianfranco Bianchi for the artistic language which, articulated in an intimate space, is defined and solidified in the exterior, that is to say in his constant testimony, honestly aimed at expressing his emotions and everyone's thoughts.

Bianchi relies on signals to tell us that Art is similar to a great creation containing the past, what has already been done, with the whole that merges - thanks to what he proposes case after case - with the future, dreams and mystery .

Sometimes, observing one by one his works always placed in thematic groups, it seems to me that they belong to a single great story which, distributing itself in the deep space of the cosmos/microcosm, in a single voice, and also in the dimension composed of seasons that marry to the most varied events, it instinctively leads us to think, that is, making use of the value of interiority which unfortunately is sometimes lost along the way.

Earlier I spoke of a story, but it is better that I define Bianchi's work as the framework of a book whose chapters, well stitched together, are only apparently different in terms of subjects, but firmly connected.

For him, art is evolution, it is renewal, it is analysis, it is "thinking and doing and giving", so that, scrolling through this monograph well set out graphically and with photographic documentation and linear writings, whoever reads it or can use it in other forms, or anyone who hadn't previously dealt with him will finally be able to say: "Now I know him... and I respect him". (from the monograph "An Artistic Journey from Galaxies to Microcosms" - 2022)

Giorgio Gregorio Grasso

Art Critic


Bianchi is an artist I have been following for several years. I have always appreciated his works by him also because, in general, they tend not to be boring. He uses different aesthetic languages and deals with arguments, through his painting, which can definitely fascinate the general public. Of sure interest (not only aesthetic) his series on the Galaxies, on the Microcosm and the one on Climate Change which turns out to be current as never before. It raises many questions in an attentive observer and this is what art must do, not only to bring an aesthetic advantage, but also to amaze and make us reflect, where possible and Gianfranco Bianchi is able to do it. (2022)

Monica Petroni

Poetess, writer and playwright

I have always considered Gianfranco Bianchi as a truly eclectic artist able to explore, with his art, various forms of expression with the aim of bringing them to the general public in various conceptual and non-conceptual ways.

I am compelled by his way of placing himself at the center of the universe to explore the various possible scenarios.

In particular, I am compelled by his works on the Microcosm, Macrocosm and Climate Change.

An artist who sees the world with different eyes and who knows how to involve us in special atmospheres. (2021)

Marilena Cheli Tomei

Essayist, writer, and historian

  ... I want to underline his pictorial cycle on nebulae and constellations, the infinitely large, to then move on to the infinitely small, even the microscopic, passing through the images of the seasons, also whispered thanks to Bianchi's dripping technique.

An interest in the natural world in whichhe also found comparison in other works in which he highlighted, in an original way, the threats our planet is subjected to. As the artist states, in reality there is only an apparent chaos and it is up to him to seek and find the existing logic. In this particular artistic cycle he confirmed the validity of his thesis, showing us what miracles of abstract art and not only nature can offer, if it is observed with a critical and investigating spirit. (2022)

Giammarco Puntelli

Art critic

From Galaxies The Past Of A Future That Sees Us Brothers

The silence of space, the light of stars, paths that mark the destiny, personality or just the rhythm of a day. Space as a limit to contemplate (to overcome), as theme of the study, as fascinating myth on which to reflect to come back to life.

Man has always looked up to the sky. The quest of spirituality finds the infinite condition of coming from the Kingdom of Heaven. The scientist observes and takes notes. And physic meets feelings in the name of a night of shooting stars.

In short, the galaxies, the imagination and the scientific research linked to them generates passion, doubt, observation. Gianfranco Bianchi, takes the toolbox of colors, chases an art that differs from others for subjects, especially for the pictorial interpretation.

The sky has been a subject of great research in art, I am referring to the light and the skies that showed the social and political sense during Turner's historical period.

And what about the increasingly convoluted and difficult sky of a van Gogh that seeks the essence of reality. Precisely a van Gogh that puts in evidence the importance of the sky in relation to human figures and his friends.

It was 1888 when Vincent van Gogh decided to paint "Starry Night over the Rhone".

The survey on human beings, on his journey, on his destiny, about the sense of the past in order to plan a future, all is in that work. In one work the presence of man.

Gianfranco Bianchi is a true artist, of thought and obvious technical capabilities. After compared himself with works that make the development of the philosophical thought its favorite theme, after dealing with work s of social denunciation and provocation, after bringing to larger what is actually very small, tries to make a no border to a canvas which represents the infinite by definition.

Here art meets thought and dialogue takes on an interesting aspect partly unusual for contemporary art. The technique, effective, and as you can see from the images but mostly "live", particularly suitable and exciting in this context, supports the theme.

In this case the reflection of Bianchi plays an ancient dialogue that weaves together the nights with the fate of men: on the one hand we have the scientific research, the doubts and questions of man, on the other hand we have his poetic sense and wonder. And here the excitement wears science, and where the student gives way to the poet, wonders happen. And on this road we meet a Bianchi looking at the sky with scholar glasses and then put them away and lose himself in a poetic destiny that binds a man of light to a destiny of order and joy (from  magazine “Urbis et Artis” – November 2014).

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After the extraordinary period of the galaxies, in part still under research, the master is going through the survey on time.

This has given its first fruits with the months.

In these paintings we find all the ability to give visions and metaphors to the passing of time and to the poetry of life that proceeds parallel to nature. Here the events of the man who observes are intertwined with a natural cycle that makes us understand how, in small things, we can discover and find the meaning of the ultimate questions and the emotion of an aesthetic in search of beauty as a moral law. (2015)

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Un labirinto che ricorda un film con attori di grandi capacità e un regista come Kubrick, a trasferire emozioni diverse in altrettanti film.

Il senso del labirinto, nella tradizione, nella storia, e nella leggenda, esprime un percorso che l’uomo deve fare per approdare a un momento di piacere, sia esso una crescita, sia esso un premio, o per fuggire da un dolore, sia esso morale, psicologico, o di sopravvivenza fisica come nel film.

Gianfranco Bianchi è riuscito, con un’opera d’arte che conosce il senso dell’enigma, a trasferirci la complessità di un momento di rappresentazione cinematografica del senso della follia, pericoloso e inaspettato.

The Overlook Maze recupera , non solo in termini tecnici, ma anche per la forza che Gianfranco Bianchi ha inserito in un’attenta e folle razionalità, quella condizione del labirinto come apertura di dimensione e di passaggio temporale.

Il labirinto di Bianchi riporta alla mente la filosofia del labirinto come cammino di conoscenza e di coscienza dell’essere .

Per chi conosce la sua produzione, è facile associare l’arte di Bianchi ai concetti puri di sperimentazione e di ricerca.

Ogni sua opera nasce dalla capacità di immergersi in quelle atmosfere, utilizzando una razionalità non imbrigliata da regole esterne ma cosciente della dose di sensibilità che il lavoro, sia plastico sia sulla tela, porta seco.

Con quest’opera offre la metafora del suo lavoro e di quello di scrittori, filosofi, registi, e uomini di cultura che decidono di entrare nei labirinti della conoscenza per portare e condividere scoperte e progressi. (dal libro “Le Scelte di Puntelli – Il Labirinto dell’Ipnotista” – Editoriale Giorgio Mondadori – 2017

Lodovico Gierut

Art critic, journalist and writer

.
. His exhibitions, as it is not difficult to notice from a curriculum that has considerably expanded since 2009, have been characterized by a creative commitment with more voices, with more intentions, with more topics and expressive ways, yes consider his person certainly eclectic ...
His work is like a North Star that radiates from the core in the four directions, and each seems to be unique, but it is not ... The pictorial works of Gianfranco Bianchi are nothing more than author pages, pages that narrate and that describe natural and non-natural elements. Pages that admonish.
What is the use of art, if not also to aggregate and make people think? I wonder, we ask, even if we are not many.

And then this art / content that today stops in a building that has already hosted moments of great importance in the past, is here, around us, and not only tells us who the author is, always busy, but affirms an attempt to reflect on the past, on today, on the future that looms threateningly ...
It is going forward and, due to the changes in the climate, we know something about it locally and globally, it is the culture, it must be the culture of thought / action that does not plunge us into the abyss, into the "death gore" of which friend Manlio Cancogni. Everyone has to do their part.

Artists like Bianchi, administrators, writers, environmentalists, sociologists and so on, that is everyone, will be able to do their part starting even from the little things, banishing the prevailing selfishness.
The exhibition itself proves it, and I agree that it joins it ...

Gianfranco Bianchi is therefore a multifaceted and interesting personality of whom art, scientific interest and musical sensitivity are just some emerging aspects.
I find particularly stimulating his original combination of artistic activity with an extremely topical scientific and social interest, such as that relating to climate change.
The series of works in the current catalog, inserted in a context of great environmental interest which is the heart of Cardoso, preceded by the clear motivation that inspired them, reveals the original spirit with which he knows how to grasp every aspect of the reality that surrounds.
I repeat myself, from the infinitely small to the universe of galaxies, to the symbolic representation of the problems of today's world, Bianchi succeeds with irony and with a critical spirit in awakening sleeping consciences, carrying out a singular didactic action.

His, as Marilena Cheli Tomei recently affirmed, “are effective images of immediate understanding, even the particular titles assigned by him to the works that certainly do not need to be explained are correct and precise”.
The other day, writing these short notes that I leave as a memory - like a day of ours that will continue with the conference on climate change, and the anniversary celebrations of June 19, 1996 - I was thinking about the union of the various components of the art of Gianfranco Bianchi.
In him there is aesthetic beauty, such as I define, but his “message of attention” is combined with the whole.
There is even a certain provocation, very different from other acclaimed situations that border on idiocy, which are nothing more than "dusting nothing".
His ideas, signs / signals affirm the interpretation with different eyes, aware of reality.

He managed, with this staff, to involve us, hoping that - besides us - the mass, often bewitched and subdued by certain sinister consumer interests, will slowly realize what is happening at every latitude and longitude.
The culture generally understood, that of dialogue and communication, can save us.

Beauty is no longer enough to save the world, but the awareness of being "Human", with a capital U, also working for future generations. The future is upon us ...

Alberto Moioli

Art critic


From the micro to the macrocosm, passing from poetry to the metaphor of life. Gianfranco Bianchi is completely immersed in his works, almost to confuse himself and identify himself.

The informal approach that characterizes him belongs to a very interesting pictorial interpretation worthy of analysis and study.

The artist, skilled in the art of drawing and figuration, almost completely abandoned the academic technique pursuing something, that from the beginning, belonged to his creative soul.

In the artistic gesture we can find that abstract expressionism that proliferated in the United States in parallel to the European informal, a historical moment in which the "stain" has become "sign" in an expressive perspective that follows the technique called "dripping", used by Bianchi, and of Jackson Pollock with Action Painting.

Insights and teachings that came from the History of Art have settled in the soul of the Tuscan artist allowing him, over time, to reinterpret in a very personal key.

The result is in front of our eyes with the famous "Galaxies", born of a scientific observation, filtered by their sensitivity and reproduced on large canvases. The union between art and science therefore appears, thanks to the painter, under a new light, the poetic one, that of the fascination produced by the sky, by the infinite, by the harmony of the universe.

Gianfranco Bianchi is an artist in whom Thought, Soul and Gesture converge and cooperate. A painter whose creative expression explodes in works that contain many reflective factors that, thanks to this new interpretation, allow him to distance himself from easy cataloging.

The creative automatism is pure but at the same time controlled and conscious in the pictorial gesture in light contrast with what the distinguished prof. Clement Greenberg asserted (New York, January 16, 1909 - New York, May 7, 1994) in his extraordinary "Flatness" theory with which he simply imposed "behind canvas nothing", ie art as an end in itself, art as awareness beyond that represented there is nothing else.


In contemporary times we are used to always looking for intrinsic meanings as if we are always referring to conceptual expressions.

With Gianfranco Bianchi we can be attracted by the thought linked to the metaphor of the universe, to the concept of infinity and therefore of human precariousness, but it is equally important to enjoy the beauty and harmony conveyed by the chromatic and compositional choice of the work, thus stripping us of prejudices dictated by the desire to find answers at any cost. (2018)

Sabrina Ceni

Writer, Merlino Bottega d’Arte Gallery in Florence


Gianfranco Bianchi is the ferryman of the matter towards divine.

His art is a pure and immediate tool communication.

The color, firm and full-bodied, imposes itself in space and becomes alive through the light, true universal force; color that is the essence of life, opposed to the darkness of the background, to the unknown of the human soul and to the immensity from which it derives.

The viewer is projected outside of its own space and own time, in an expanded dimension, unknown but inner and is encouraged to think, to ask questions about what the artist calls “apparent chaos”.

Chaos at times confused and sometimes fluid, punctuated by a strong nature that emerges through the field of metals such as gold, copper, bronze is the primordial soup of existence, seemingly chaotic but actually bearer of a perfect balance.

The artist, through the physically position adopted in the act of creating, breathes it and is absorbed, remains trapped and then explodes leaving visible traces of himself, primitive, deep and true. His are interior forms that emerge, tactile, due to the generous color impressed on the canvas that becomes the meeting point between matter and soul, true trait d’union between the experience of the artist, his passions and fears.

The canvas is Mother Earth and the painter lives it.

From here observes the universe around him, and the far away interstellar clusters.

Bianchi goes beyond the action painting: his dripping evolves in liquidism and colors blend on the tilted canvas in vital, throbbing movements; true interpreters of feelings, reflect, through their intensity, the human essence.

In front of his works, the viewer hears the silence of the artist like kidnapped by a symphony, by a music that enchants and winds in endless tangible lines.

The eye is lost in the depths of the canvas to catch Earth's surface, real; perceives the distance between the immense and the human in a continuous focus now of one now of the other, with the feeling of being able to get caught in some where, between the two dimensions.

Resigned, the view surrenders before such depth.

Then, when everything calms down, the work changes position, capturing the perpendicular space, it brightens.

The artist now stops in front of his own creation, he becomes an observer of his own self.

And the canvas starts to dance. (2014)

Sebastiano Collu

Storico dell'Arte  

Gianfranco Bianchi, pittore folgorato sulla via di Pollock, dal maestro dell’action painting impara il dripping per poi tradurlo in una lingua viva, un liquidismo in cui i colori, liberi sulla tela, si fondono a rilievo con scaglie metalliche.

Il discorso si fa quindi materico, solo apparentemente caotico, comunque perfetto per descrivere una casualità che è prima di tutto esistenziale. (2013)

Salvatore Russo

Critico d'Arte  

Attraverso la raffinatezza del segno Gianfranco Bianchi ci presenta le sue ottime composizioni.

Un segno che abbandonato il comune asse cartesiano, decide di “presentarsi” al grande pubblico attraverso una nuova geometria. Si giunge cosi a nuove architetture creative.

Nell’opera “Composizione I” all’antinomia cromatica che vede dialogare visivamente il nero con il bianco, si associa una cromia che definirei razionale, dal momento che viene rispettato l’ordine delle cose. Al verde acqua e all’azzurro mare delle due diagonali vengono affiancate eleganti cromie.

L’altra opera “Prima dell’inverno” ha una struttura diversa. Qui è il triangolo ad essere al centro della rappresentazione. Il fulcro è rappresentato dal triangolo nero che si stacca dall’ottagono ideale. Una concettualità che parte dal segno fino ad arrivare ad un elaborata cromia. (2011)

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Gianfranco Bianchi traccia quelli che sono i contorni di un nuovo universo. La galassia, con le sue nebulose, diviene il suo nuovo oggetto di analisi cosmica. Il Maestro ci parla visivamente di un mondo a noi per molti versi sconosciuto e lo fa attraverso il grande equilibrio tonale e la dotta compostezza con la quale realizza le sue figure. (2014)

Carla D'Aquino Mineo

Gallerista 

IL FASCINO DELL’IRREALE

Il fascino dell’astratto pervade negli splendidi dipinti del maestro, Gianfranco Bianchi, dove l’elemento mobile e fantastico, nell’intensità emozionale del colore coniuga il reale con l’immaginario, la poesia con l’enigma, il senso con la ragione. Nasce, così, una autentica narrazione figurativa di onirica bellezza, in cui i paesaggi cosmici, tra galassie, nebulose e corpi stellari sono ricreati con armonie inedite di forme e colori, e finissime sensazioni nella varietà dei fermenti ispirativi, dove la libera gestualità pittorica concretizza una trasognata realtà astratta.

Ecco che allora, nelle visioni oniriche, si inseguono forme immaginarie, tra allusioni esistenziali e simbologie, percorrendo un viaggio ideale del pensiero nell’evocazione del filone astratto, da Kandinsky a Jackson Pollock, in cui emerge il ritmo lirico quasi musicale di libere forme geometriche che si evolvono in sprazzi cromatici nel tessuto materico in paesaggi stellari immersi nell’infinito blu e nell’armonia universale.

Sorprende nei dipinti del maestro Gianfranco Bianchi l’alta sintesi grafica e coloristica che giunge con immediata spontaneità all’effetto visivo nella simbologia di forme e colori che si evolvono in una nuova spazialità pregna di luminosità con lontananze liriche nella costante ricerca di ricreare fantasticamente la materia, veicolo di significati e valori della vita. Ecco perché, nella pura creatività lo stesso supporto di base nei suoi autentici dipinti vive una simbolica metamorfosi, mentre appaiono brillanti tonalità, tra i rossi fiammeggianti, i gialli solari ed i bianchi lunari nella sospensione magica di momenti per vivere il mistero della vita in una dimensione ideale, in cui il tempo trascende lo spazio nella suggestione globale ed emotiva di forme, colori e luci in movimento.

In tal modo, la rappresentazione pittorica diviene metafora di uno spazio, in cui le libere improvvisazioni formali e coloristiche rivelano la netta coincidenza tra rappresentazione ed azione, dove primeggia la tecnica pittorica dell’ “action-painting” che ha la sua matrice nel romanticismo americano nel rapporto con la stessa natura. Alla fine, la visionaria narrazione di Gianfranco Bianchi approda nello spazio immaginario, trasfondendo il momento dell’inconscio e del sentimento, mentre il senso respinge la razionalità della forma in un’interpretazione romantica, perché informale rispetto al rigoroso classicismo-formalismo di Mondrian in un astrattismo severo e contenuto nelle ripetute forme geometriche.

La libera e naturale gestualità, quindi, nel vorticoso turbinio e nell’alchimia coloristica, tra gli azzurri crepuscolari e l’intensità del blu nei trapassi di bianca luce e nell’immediatezza del riflesso, rivela l’interiore emozionalità dell’autore, in cui si svelano le forze del sogno e l’abbandono all’inconscio per inoltrarsi nella meravigliosa scenografia di una surreale realtà. Segni e colori, dunque, si fondono armonicamente, interpretando la poetica dell’immaginario nell’espressione di energia e di vitalità per vivere il mistero segreto delle cose e della materia, in cui le improvvisazioni psichiche si confondono nella fantasia cromatica della complessa trama pittorica, mentre le dinamiche tonalità e le sovrapposizioni materiche convergono nella libera gestualità del colore in una dimensione nuova e sconosciuta.

Oltre la stessa concettualizzazione dell’immagine, percorre la straordinaria narrazione di Gianfranco Bianchi per manifestare l’odierna cultura avveniristica orientata sempre verso inedite forme espressive per un nuovo concetto d’arte. Sta qui il fascino nei dipinti del maestro Gianfranco Bianchi: l’immediata gestualità pittorica nell’abile esecuzione dello Sketching, crea mondi fantastici in affascinanti   composizioni   cromatiche, dove l’espressione del colore diviene trascrizione di sentimenti ed un logos ideale di emozioni in afflato con le armonie universali, aprendoci la via ad una nuova fantasia nella sublimazione dell’arte. (2015)

Antonina Bertolino

Rochel Rehael Ltd 

Gianfranco Bianchi: caos apparente che trova un senso lasciando liberi i colori

Un’arte che narra il ciclo di vita (mesi, ere, infinito) in un percorso spazio temporale dove porre attenzione ai dettagli e alle dimensioni, facendo emergere l’esigenza di cercare la profondità delle cose, osservandole al microscopio, fino a soddisfare il bisogno di andare oltre lo spazio, verso l’infinito e il divino. Le tecniche pittoriche (dripping, action painting, sketching, liquidismo), utilizzate mostrano perfettamente questa sensazione di lasciare andare i colori, le emozioni che la vita offre, liberi sulla tela, lasciandoli intrecciare e fondere in un caos apparente, che prima o poi troverà un senso. (2016)

Letizia Lanzarotti

Consultant, expert and writer of contemporary art

Whenever gaze lingers on a painting, the viewer tests extreme curiosity and amazement in discovering what the composition wants to communicate. Gianfranco Bianchi relies much of the creative process to the suggestions (often purely chromatic) arising from the represented.

The wonderful series dedicated to Galaxies ... a space observatory created by the artist to accompany our eye through the Universe and the suggestions it offers: a visual and spiritual sublime ecstasy.

Bizarre juxtapositions seek abstract geometries or symbolic representations of a reality that seems to, once again, confirm the presence of an otherworldly and ultra-terrestrial dimension.

New unexpected abstract compositions that take us back to imprinted collective unconscious memories, through colors, recall the present and life through various and dissimilar topics , from the everyday life up to the research of the unknowable. Each painting has the peculiarity to go beyond the eye, where the mind doesn't expect; this uncontrollable burst is the pleasant wound inflicted by Art that knows how to remain impressed and remembered. (2013)
Domenico Asmone
Pittore e Presidente della Brigata del Leoncino

Bei lavori, unisci alla tecnica il concetto, per cui le opere sono veicolo di significati che derivano dall’esperienza quotidiana che la vita di oggi ci può offrire. Nel bene e nel male. (2011)
Salvo Nugnes
President of Spoleto Arte and manager of characters from the world of culture and entertainment

Gianfranco Bianchi's is a wonderful intuition and, as a versatile artist he is, it would be difficult to expect less. His research probes reality far and wide, from sidereal spaces to molecular interconnections, a unity present in the all-encompassing gaze that dedicates itself to the parts and to the whole with the certainty of finding the inspiring muse in every entity. Thus, even for Tequila under the microscope or for Aspergillus under the microscope, unexplored artistic universes can be discovered for the first time.  (2018)
Monia Malimpensa
 Gallery owner

With an extraordinary emphasis and an inner life the artist Gianfranco Bianchi creates spaces and volumes of intimate reflection covered by a series of chromatic-structural effects that fully distinguish it. The inspiration of materic dripping is enhanced by the search of important expression that enjoys a throbbing bright light, and a fascinating potential yield of color. He is dedicated to the concept of spatialism with a constant charge of content and a visual search full of experimentation, color and inventiveness.

Matter, imbued with vitality and sophistication, goes through all his work with technicle ability and responsable interpretative mastery free from any pictorial diagram.

Signs, forms and images, very personal and imbued with lyrical outbursts, represent a conceptual space that is filled with a harmonious color and an inspiration always attentive. (2013)

Giuseppe Recchia

Journalist, writer and director

GIANFRANCO BIANCHI, AN ARTIST WHO SHOWS MAGIC THAT ARE WORKS OF ART
It is now known. I read sites of artists or writers and I often discover them via facebook. I don't need anything else or recommendations or reminders. I have rarely been disappointed except by acquaintances that occurred later, because live performers are a gruesome disappointment. Especially for those who call themselves poets. I was able to get in touch with the artist painter and sculptor Gianfranco Bianchi surfing the internet for hours and finally having found in him the artistic and human genuineness, which is essential to be a true artist, I granted myself the right to express my opinions that I don't call 'criticism', because I leave that to professional critics who get paid for it.

Gianfranco, as Antonina Bertolino writes with great capacity for observation, is: "an apparent chaos that finds meaning by letting colors free and paying attention to details and dimensions, bringing out the need to seek the depth of things, observing them under the microscope ". This definition by the artist Gianfranco Bianchi could be used for many artists who are often great researchers who observe with almost electronic eyes beams of light that automatically transform into colors with their individual sensitivity. Gianfranco is not a scientist or even a doctor but he analyzes reality with expert hands and with electronic eyes that have the power to transform his artistic works into natural phenomena as a magician would do but does not produce illusions. And yet it amazes us even though we know that it is still difficult to amaze. Anyone who expects everything and to leave someone speechless you really need a lot of imagination, ingenuity and, above all, skill. And Gianfranco in his dimension as a man with a child's heart transmits all his fantastic illusions that he makes our illusions become. (2016)

Giacomo Mozzi

Giornalista

Non solo i cambiamenti climatici con la rappresentazione delle stagioni, ma anche microcosmo e macrocosmo sono al centro della ventiquattresima mostra personale del pittore Gianfranco Bianchi che si tiene in questi giorni alla Galleria Europa di Lido di Camaiore.

“Il viaggio è un tema ricorrente nel percorso creativo di Bianchi – commenta il critico d’arte e giornalista Lodovico Gierut – è assodato. Non manca un’ampia visione che ormai da tempo va attirando l’attenzione di chi ama la natura e la continuità positiva del nostro pianeta. Si è occupato di temi molto apprezzati ed attuali come i ” Cambiamenti climatici” ed ha esplorato, in pittura, sia il microcosmo che il macrocosmo. Quella di Bianchi per la pittura è una vera e propria passione innata.”

La mostra stessa, con oltre 30 quadri in esposizione, è un percorso all’interno di mondi tanto diversi, ma al tempo stesso così simili. Il microcosmo con la rappresentazione di organismi microscopici rappresentati in una grande dimensione ci fanno esplorare e vedere un mondo che viene raffrontato con il macrocosmo delle galassie dove la Terra è solo un puntino insieme agli altri pianeti e stelle. Bianchi, nel decimo anno di attività artistica, ha voluto incentrare un lavoro sul nostro pianeta e più esattamente sulle stagioni con il progetto dei ” Cambiamenti Climatici” dove nei quadri raffigura quello che le stagioni ” erano” e che, proprio per questi cambiamenti nel clima, oramai si avvertono sempre più raramente.

Una mostra che fa riflettere e che al tempo stesso emoziona grazie ai colori ed al particolare stile pittorico schizzato di cui Bianchi è un vero e proprio maestro. Insieme alle opere di Gianfranco Bianchi è possibile visionare le poesie di sua moglie Monica Petroni, autrice di due libri e premiata per le sue video – poesie. La mostra rimarrà visitabile fino al 23 settembre con orario serale. (2019)

Gennaro Galdi

Accademia Euromediterranea Delle Arti

Per meglio comprendere le opere, per la maggior parte, “tattili” di Gianfranco Bianchi, occorre recuperare la teoria sulla creatività della psicoterapia Gestalt, teoria che riesce a spiegare, pienamente, la sostanza della creatività stessa. Le opere di Bianchi, a volte monocromatiche, a volte caleidoscopiche nei colori ma con essenze di colori e di percezioni, concretizzano una forte idea dello spazio e dell’opera che possiede l’artista. L’opera parte da un’idea di uno spazio ragionato, da raccontare con accesa fantasia in cui la creatività, dunque, è perno centrale e punto di forza.

Infatti, se dobbiamo precisare, mai come in questo caso, cioè mai come nelle opere di Gianfranco Bianchi, ricordiamo che “ il termine “creatività” non è sostantivato, ma è attributo essenziale dell’esperienza di contatto, è una qualità dell’esperienza del campo, una proprietà delle opere che non può essere isolata dal contesto vitale in cui si esplica e si attualizza….

Ne derivano opere come Disintegrazione di un prato di lavanda, oppure Giza o Argento Oro e Bronzo, in cui il colore freddo dell’argento si accosta con i toni caldi dell’oro, come nel caso di Platino e Bronzo ed i altre opere in cui Bianchi si conferma artista originale e fuori dagli schemi.

Insomma, è il farsi concreto, pittoricamente, della relazione intimista tra l’artista e la sua opera. Che affascina , nella produzione di Bianchi. Egli dipinge “matericamente”e sembra abbondare nella materia; infatti, spesso, le sue opere, appaiono come dei bassorilievi, alla nostra percezione.

Allorché egli usi il catrame, l’artista mostra una spiccata flessibilità mentale, una forte capacità di abbandonare schemi di pensiero consueti, per abbracciare soluzioni alternative…

Il Catrame intride, segna, bagna, colora, copre, imbibisce, si trasferisce sul supporto, come vuole il suo autore, riempendolo di soddisfazione, lasciando un segno indelebile, un’impronta segnica dell’autore; un’impronta mai più cancellabile: indelebile…Anche attraverso il senso dell’olfatto, l’artista avverte compiacimento.

Questo discorso spiega quanto possa essere amato dall’autore, questo rapporto intimo che si crea tra la materia, il catrame, lo smalto ed altra tipologia di materia, ed il suo supporto.

Riprendendo le parole di Bernie Warren, 1995: “L’arte può motivare tanto poiché ci si riappropria, materialmente e simbolicamente, del diritto naturale di produrre un’impronta che nessun altro potrebbe lasciare ed attraverso la quale esprimiamo la scintilla individuale della nostra umanità”. Equilibrio cromatico, ritmico cromatico, bilanciamento di colori, armonia: sono questi i tratti distintivi del pittore che al di là del segno, racconta e comunica messaggi del suo tempo: il rimpianto per una distesa di lavanda “ perduta”, ad opera dell’uomo, forse nella terra degli artisti, chissà…. Forse quelle distese di lavande che si affollavano, strette strette in regolari filari blu- carta da zucchero, per essere rappresentate, in Provenza, vicino ad Aix en Provence, o a Saint Paul de Vence, luoghi sacri, templi dell’arte degli Impressionisti…..

In conclusione, un discorso anche ecologico, è quello di Gianfranco Bianchi, un discorso ecologico che possiamo leggere oltre le righe, dal significante al significato, con la capacità di sintesi che caratterizza il suo Autore.    (2011)

Nella Guelfi

Gallerista

Artista che si presenta col repertorio dei segni, forme e simboli del padre dell’astrattismo, protagonista di quel linguaggio, risaltano alcuni degli elementi morfologici di cui risale la composizione del dipinto.

Gianfranco Bianchi fa riscontro a varie sintesi semisolide per aspetti della natura con diverse manifestazioni giocando da bravissimo artista di sicuro talento, con forme tentacolari nucleari, geometriche dall’animato magico rabesco.

Chiaro che il pittore indica al di là della sua consueta abilità tecnica, un interessante percorso di pensiero come un viaggio cosmico che compare l’avvicinamento ad una sintesi ragionata di una formale composizione astratta.

Emerge una compresenza di qualcosa di organico non dichiaratamente ideologico ma con un cuore pulsante di vita intensa, dal quale nasce a volte un animaletto geometrico che si libera e si unisce in un cielo dai misteriosi confini… (2010)

Laura Tabegna

Journalist

Looking at the galaxies created by Gianfranco Bianchi, one wonders if perhaps even God has not created the universe “dripping” material on an incline. At the end, the rationality of science, the madness of art and the mystery of spirituality recount with different languages one only truth ...

The ‘infinite’ moment immortalized by the artist is born by astronomical observation made with the Hubble telescope, the most powerful in the world.

Though to this chromatic perfection of the cosmos corresponds genial chaos of art. The madness “elected” by Gianfranco Bianchi is that of Jackson Pollock....

Fan of science fiction and at the same time keen observer of reality, Bianchi defines a new generation of painters. Artistically born with a genetic code where the informal is already present, contemporary youth develop a figurative where the lesson of the abstract is already impressed. It follows as a new reality, which contains the concept of restlessness and universality. Bianchi began his career as a painter in 2003 with false of authors.

Van Gogh and his starry nights mark the artist's sensibility, which thanks to the spark triggered by Pollock found the inspiration to reveal the balance of the cosmos through the drama of dripping. (2014)

Ilaria Minghetti

Giornalista

Opere di Gianfranco Bianchi so­no esposte fino al 13 marzo al Cafè du Globe a Pistoia. Gianfranco Bianchi, nato a Massa Car­rara, vive a Pistoia da quindici anni e proprio a Pistoia ha deciso di proporre la sua prima per­sonale. Ha iniziato a dipingere nel 2003, realiz­zando falsi d’autore a olio di opere dell’ 800 e ‘900.

Nel 2009 ha iniziato un percorso di ricerca espressiva che lo ha portato a una pittura fatta di uso materico del colore acrilico e smalto acrilico, su tela dalle forme particolari.

In questa mostra, proceduta da partecipazio­ni a mostre collettive, propone trentaquattro opere, realizzate dal 2009 al 2011, testimonianza della sua attuale scelta artistica.

Il colore è l’elemento che veicola il messag­gio di intime sensazioni e di profondi sentimen­ti: colori forti e sovrapposti, toni netti che nel­l’unione creano realtà sfumate, corposità del colore fino a renderlo materia viva.

La forma della tela è concepita come realtà simbolica: molte opere hanno forme particola­ri che richiamano varie realtà, altre sono frut­to di assemblaggi di varie parti tanto da rende­re ogni opera continuamente interpretabile.

Sono opere nelle quali si alternano forza ed eleganza forme originali a forme giocate secon­do l’avvicinamento delle parti che le compongo­no: opere davanti alle quali ciascuno viene coinvolto da interrogativi ai quali cercare ri­sposte fatte di colore e stati d’animo.

La pittura di Bianchi è una continua ricerca e una continua sperimentazione di colore -massaggio e forma – simbolo così da dar vita a un’evoluzione mirata alla difficile indagine del mondo delle sensazioni e dei sentimenti. (2011)

Alberto Gross

Art Critic

The dripping technique used by Gianfranco Bianchi reaches its own, powerful expansion force in the deceleration of variegated forms in dominant islands, unlimited portions of intense deforming color...

However, It would be restrictive to enclose the artistic work of Gianfranco Bianchi within the limits of the commonly known action painting: it’s more a "shaking" painting where the color, once drained, undergoes a further processing stage by means of the incline and the support’s movement. Even more the chromatic generosity finds in the thickness and in the material their own ideal of aesthetic referent: the work gains and increases its structure, becoming writing and language...

The action of painting is – let's say - rethought and channeled in the rut of a dimension not only aesthetic, but also fiction. The organic, liquid and biomorphic forms of some paintings are counterpart to those angular and geometric of others, in a lively dialogue between immediacy and reflection. Parallel and further the artist creates works in which the approach of more modules or panels is functional to a dynamic composition, in continuous, ambiguous redefinition: paintings, brought back to their titles - indispensable elements for displaying the total work – assume ironic characterizations that emphasize distinctly intellectual style and sophistication. (2011)

Francesca Zaltieri 

Vice-president with responsibility for Work, Culture, Knowledge and to the Territorial Identities of the Province of Mantua


... An unpredictable journey between galaxies and space-time storms generated by highly original images and ideas ...
the declaration of existence of an artist who has always demanded a revolt against the expressions of bad taste so dear to the petty bourgeois world ... a greedy deity of love who gives birth and death, beautiful and insurmountable extremes of life ...
His works, his "concept items", objects full of virtue and knowledge, seem to be built to be able to move in the time-space of each of us, to be able to go back into our past or to search for our future.


But what matters most is that Gianfranco Bianchi's works are imaginative flashes of light, explosive dripping, celibate apparitions for neo-Duchampian bachelors, for the adventurous and dreamlike curiosities of all of us.
Bianchi's work is thoughtful, refined and biting, in which nothing is granted to pure formal complacency, it is a work that constantly pursues the confrontation with the aesthetic researches of contemporaneity and that catapults us into a universe of unsettling, restless and bold images ... a personality of extraordinary human and artistic interest, a personality that rightfully occupies an important place in the national art scene and beyond. (2015)
Gastone Ranieri Indoni
Art Critic and Editor

The rich evocative atmosphere that deals with the universe and the cosmos like this artist of great descriptive grace reveals in his paintings , unequivocally declare that all the plots expressed, either sign or color , belong to a conceptual intimacy that starts from the soul and connects to the canvas with such a natural passage that recalls the valuable function of the chemical process of photosynthesis, where, instead of plants, thanks to the light, the stars enjoy and vivify.

With Gianfranco Bianchi's vast and active commitment and thanks to his zealous and productive work you can easily guess the time and attention addressed to research and all the irrepressible vitality that springs from his technical - stylistic insights that widely declare the vastness, lift and the careful preparation of a long-range project, and then thought with the adequate foresight to the work of art.

To appreciate and enjoy the overall development of his paintings prettifies the mood of each viewer or observer present because the global interpretation of what this author transmits is given to anyone with freshness of expression, with an earnest dynamism and above all intellectual honesty because all the emotional responses that the viewer seeks are regularly praised on the canvas: in the cosmic core that turns into energy and empathetic dynamism. (2014)

Maurizio Ganzaroli
Critico D'Arte e Gallerista

"Silicato di Sodio al Microscopio"
L'artista Gianfranco Bianchi ci stupisce ancora una volta con la sua arte non convenzionale. Trasformare l'invisibile in visibile ed infine arte. Assistiamo quindi allo svilupparsi di un mondo nascosto all'occhio nudo e che si palesa dunque di fronte ai nostri occhi con forme e colori del tutto inaspettati, non in una rivisitazione, ma in una riproposizione della realtà diventando un'opera spettacolare.

GIANFRANCO BIANCHI artist

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