Giovanni Trimani @ Rome Art Week

Giovanni Trimani

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GIOVANNI TRIMANIGiovanni Trimani began his professional career in 2007. The roots of his work, however, are to be found around 1987 when he was lucky enough to meet Franco Giacchieri, an illustrious Roman artist. From the first oil paintings to today he has always placed the sign at the center of his research, declining it both in painting and in sculpture and in architectural design interventions. Never satiated with novelty, he found the fuel of his creativity in the challenge with himself. Although not coming from academic circles, his technique was refined with an exhausting practice accompanied by a daily and scrupulous didactic preparation. For Trimani, the continuous updating of his training is a cornerstone of his work. From the careful analysis of his experience of him, he tried to develop an aesthetic interpretation that is as universal and shared as possible. Man, in the most noble definition of him, is the center of Trimani's aesthetics. The classical techniques, oil, watercolor, pastel, tempera marked his youth and the years of formation. The lessons of past masters left a very clear imprint on his style. He never refused the teachings, but he always looked for a personal expression. The confrontation with his mentors did not result in a didactic monologue, but in a crackling and surreal exchange of experiences. Today he resumes many researches and notions learned by renewing them in the current and more mature style of painting and sculpture. The important and complex AssediA project currently represents a large part of his production. Nothing happens by chance and the most represented subject in recent years is the Chair, not framed as a still life, but as an in-depth search for Man. The Soul and its Inner Motions make Man a creature both divine and material, tragically involved in his bodily finiteness. Trimani, however, does not want to be a censor as much as an attentive observer. The Chairs of Trimani are a series of portraits inserted in a dreamlike space. In recent years Trimani has vigorously revived electro-welded iron sculpture, not with a simple reuse of pre-existing elements, but with a refined and complex processing of new profiles that make it a first-rate artistic technique.“We are the ones who don't have a shelf, we are the ones who can't count.From zero to a thousand and then from zero to infinity, how little can you count? How little can you count? Are you sure of your truth? Are you sure everything appears?I saw the future once, it appeared alive and slimy, like a shepherd's curd, like the wetness of love. Then I counted to a hundred and death kissed me on the forehead, she didn't want me either, she doesn't love us either.We are the feet without shoes, we are the hands of beggars, you leave us without laces, you touch us in charity,but you fear us, like the taxes you don't pay, like the remorse you escape.We are on the edge of your nightmares, we are what you dream of. We are: the artists .... ”Giovanni Trimani