LUIGI BONA is an unusual artist, wandering inside that extraordinary world called art.

If you go in his studio, you have the impression that he managed to focus on what he dreamt when he was a young assistant and worked for a well known decorator. At this stage he had to use his talent and immagination to satisfy a deceiving fashion full of sheer visual ornaments, but he imagined to give life to a vision of clear purity, where every thought could find shelter without spiritually interfering chromatic necessities. When time passed, free from all duties, he started to give life to his idea and found his way in that abstract expression, where all thoughts are free to expand, transmitting emotions through the melting signs over the rough surface of canvas, like a river overflowing from its bed and flooding the surrounding countryside. In this way he could eventuallly pour out that creative impulse stored for so long in his soul of painter.

The canvas of this period show a chromaticly pure background where a thin calligraphy winds like a cerebral intuition, a sort of spontaneous and irrational action of gestual expression hitting the observer's imagination. He is free to interpret the author's emotions but this will not condition him, an action of sheer pictorial perception, free from all cultural pressures. Elsewhere the sign is more trenchant and expands on the surface with wide strokes moving frantically. They seem accidental but they are consequence of an interiority which translates images into the snug harmony hidden in his soul.

Witness is the mysterious light contained in the folds of the pictorial design, emphasizing the chromatic contrasts.

We find clearly in his actions the memories of big Artists who, in the second post-war of last century, gave life to a new model of painting where every convention was wiped off and a free interpretation of living in a new society was born. Here infinite spaces were given to sensitive minds, freed from all burdens of the past and looking fearless at the future of uncertainty, where big satisfactions were given to those capable of overcoming the inevitable obstacles found on the path of this new way of making Art.

BONA could get the message and used his knowledge of contemporary Art to create that set of works, called today of the first generation, where imagination is at disposal of a totaly personalized technique. Thanks to it, the Artist can penetrate in our conscious to give us subliminal messages capable of reliefing the burden of everyday life, too often overloaded by omens of future foulness, sent by the medias. Today the Artist has gone to a second operative period, through which he has given life to a new creative moment, still suggested by a society where all values of coherence and subjectivity, which were its pillars, seem to be forgotten. All certainties (or uncertainties?) of our living are based now on mass-trade and mass-production, overwhelming the new generation with a massive amount of commercial impositions, from which nobody seems to escape.

His new works start from here and are made with the collage-technique ( in memory of Arman). Rows of materials of common and daily use, like plastic tea-spoons, drinking straws, little "Coca-cola" bottles cut in halfs, cameras with films and so on, appear attatched in sets. Interesting are also some cardboard-boxes for eggs with bright and colourful doilies on their bottom, lined up in an obsessive way and without any continuity. They give us a sense of frustration, well interpretating the illogical daily way of living without emotions, based on a sheer continuity of the same gestures and thoughts, slaves of the media, relieving us from any kind of creativity and search for reality, weighing on our mind. BONA, with this new expressiveness, wants to touch the most sensitive cords of the human soul and, not expecting to change history, hopes to show the damage that a certain type of scandal-mongering press and television can cause, especially on sensitivity of the simplest and less prepared minds. Like each artist living his times, he feels engaged from the cultural point of view and Art has always given its contribution in divulgating culture with messages, sometimes simple other times cryptical, aiming to free human mind and prepairing it to a free thought, in order to avoid every occlusion, source of ignorance and consequent cultural bondage. The way BONA uses the materials appearing in his works is a clear accusation against a certain type of exasperated consumerism, denying the pleasure given us by the single choice of an object, a kind of food, a daily newspaper not belonging to a big commercial chain, imposed by one or another productor. That makes us look out of fashion in a system wanting everybody organized and incorporated. Art is therefore our salvation and hope in a future where we are part of a community built by single and thinking cerebral cells, aiming at individual freedom.

The Artist BONA can give his little contribution to it.

Venice, August 2005