Seconda Forma is the fusion between the spirituality of the pictorial gesture and the concrete art of sculptural matter. The process of Seconda Forma starts when the moment of an impulsive pictorial action is imprinted on the ethereal structure of the support - that is, transparent methacrylate. Then, the painted support is moulded, it invades space and becomes form.
The pictorial act reveals itself on the support as lines, points, spurts, all drawn by the colour itself. However, the act per se lacks of an actual image, since it simply is a manifestation of the creative moment. As Harold Rosenberg wrote in ‘The American Action Painters’: "What was to go on the canvas was not a picture but an event".
If imprinted on a mouldable support like methacrylate, the marks left by the color become matter that can be shaped and sculpted. Just like stone or marble, they hide within themselves an unrevealed image. As Michelangelo said: "Every block of stone has a statue inside it and it is the task of the sculptor to discover it". Yet, they are also the remains of the creative act. The sculptural phase discloses the hidden image inside such act, which has now become mouldable matter, and ultimately it makes it accessible to the public.
The existence of a “Seconda Forma” (literally Second Form) within plastic art is a brand new and interesting hypothesis, especially if presented by a young artist who observes the existing world with his pure eyes. He has a complete generational independence from every cultural, political and social traces of the last decades of the 20th century… He is an expression of the future and he is absorbed into a new world that needs to be built entirely.
His analysis is focused on sculpture, which is clearly stated into his programmatic formulation, where he affirms that painting and sculpture must progress together. In fact he believes that “…only together they will be able to help the human beings to penetrate inside the mysteries of their own existence”.
He does not believe in a sculpture without colours, which are essential to move the world’s emotions, as much as he does not believe that the secrets of the Universe can be perceived only through colours themselves, which in his opinion are too fragile on their own.
This theoretical point of view was largely common in the ancient world and the artist comes from a geographical region that used to be part of it (Magna Graecia). There, it was believed that the candid marble of those figures representing the ancient gods was supposed to be covered with colours, because these were considered means of knowledge.
Nowadays, following the process of self-modelling of methacrylate with surfaces adaptable to unconventional forms, that same necessity is perceived – and it is not a coincidence. It represents the belief established over the centuries of communicating meaning through colour.
However, how is it possible to look at a Seconda Forma without being able to recognise the first one? Here lies the intellectual complexity of the young sculptor, who well knows that the superficial plastic forms – although not figurative – are covering something deeper and more essential and he needs to possess the key to its interpretation.
Seconda Forma is not the form that is factually possible to see as a phenomenon. Rather, it is the form perceived as a noumenon, which can lead us to the truth in order to rediscover the essence of the artistic message.
This form can just be deducted fleetingly at the bottom of the artwork and it requires the observer to have a special training of his perceptive abilities. These will be able to grasp a meaning that slips away from everybody else who is not able to find the right way to reach it.
Gennaro Barci’s artwork is only apparently innocent: it is a profoundly conceptual art. It opens the doors to an awareness of reality that is consistent with a contemporary society that imposes as its protagonist the supremacy of the intellect rather than the supremacy of the view.
Going from one thought to another, from a doubt to a wish of liberation, Gennaro Barci’s artworks give us the freedom of the “return”, the freedom to reinvent ourselves without fighting tooth and nail in the war of everyday life. Seconda Forma, which is the product of the artist’s creative process, derives from a still ongoing progress of intense artistic and personal research.
Barci’s works are free from the inconvenience of existential questions; rather, they are full of emotions, poetry and desire. Colour and Form, as well as Essence and Existence, combine and find the right balance in the third dimension. Here, the artwork becomes energy and the artistic thought turns into tangible reality – which talks directly with space. By employing strength and determination, the artistic path followed by Gennaro Barci is the result of a research that starts with the study of the painterly matter to end with the “debate” between balance and harmony. This leads to what the artist calls “blending”.
It is an invitation that aims at moving the observer, to surrender to the temptation of being captivated by a unique artistic language that nonetheless is able to reach everyone. The focus of Barci’s research on Metaformismo, built on strong methodological interactions, makes everyone part of a creative process that is still evolving. This process is able to give back to the observer the possibility of daydreaming and imagining what might happen shortly after.
It is an invitation to always keep on looking for ourselves, to fight against distances and laziness, to revive the desire of never conforming to destiny, to always take into account the other side of the coin – the other side of the creative time that the sculpted forms give us. Those created by Barci are strong and powerful artworks that lead us towards the “magic moment” of freedom; a freedom that is granted to us and through which we can taste those emotions hidden in a fold, blended in colours, held in a form.
Seconda Forma by Gennaro Barci is the product of that artistic freedom that merges the pictorial balance with the sculptural ardour. The result is the bravery of an idea that distracts space and heads for the sky.
The artist shapes and produces a new form and a space where the substance “lives” and turns into equilibrium and energy. It is the display of a clear and legible artistic language, which characterises and marks the whole research. These artworks converse with light and with colour. They represent parts of a tangible reality that is ready to transform and elevate in order to conceive new forms and concepts. Gennaro Barci is the artist of the matter, but also the artist of the light, which he succeeds in combining with strength and harmony, obtaining the right visual synthesis. The result is excellent: it goes through the force of time and becomes visual poetry filled with traces of various colour tones. Brown, red, blue, waxy and other vibrant shades flow with the substance and seep in the folds of movement, getting in touch with the bright radiations that the structure assimilates and consumes.
Barci’s artworks seem about to fly off, imparting to the observer the moment, the very instant, that is about to happen. The controversial balances of the forms place themselves in the empty space. They wait for the culmination of the creative “transfiguration” with which artworks become light, floating and yet full of stories and seasons that is up to us to gather and live.