Davide Martinazzo developed his technique by creating a separate universe detached from everyday life which suggests the dimension of feelings, as this is the only experience that is shared by everyone. The artist moves forward to create an inner space far from the commotion and the hard geometries of the world, retreating into an intimate understanding that at the same time belongs to a common experience. A suspended dimension where every symbol stands out and asserts itself in the space of a perspective emancipated by a new approach, capable of seeing with renewed wonder, and – precisely for this reason – carrying inexhaustible creative power. Through an intuition which has its foundations in the unprejudiced world of childhood, the complex shapes of the adult world become simpler and are drawn into the free space of play in which meanings and relevance are dropped to give birth to the wonder and enchantment of discovery. The refusal of a rigid pre-ordered system of meaning is expressed via the repeated act of scattering letters – made from gold-painted wood – at the feet of the observer who is invited to pick one or more of them. This is a symbolic re-creation of the imaginative freedom of the moment in the life of each of us when – as a child – we move on to meet the world, perceiving shapes and names that are not yet seen as static and prescriptive. The liberating act of crushing words is powerful yet never turns into disruptive violence. Rather, this is always a joyful and constructive act opening the way to the dimension of the Undetermined, as a condition of the inexhaustible richness of imaginative, creative and cognitive self-assertion in which identities are changeable and fluid. The canvas becomes the place where all elements blend together in a soft and organic ensemble: shapes soften and corners are rounded while outlines meander sinuously.
The colours are soft, mellow, warm and vital and give form to a magical and dreamlike world and dimension. This is a dense, tenacious dream which gives shape to the language of childhood or Eros where everything is soft, sweet and smooth. It is a universe haunted by fluctuating entities dominated by a strong loving élan, an impulse forever celebrating a love of life and the playful pleasure in discovering the world.
A curved line frames the flow of space and gives birth to a free, dynamic morphology. A love of intarsia, the art of inlaying surfaces together, is found in most of the Artist’s works where sinuous shapes are repeated to form a kind of weave, a decorative pattern which fills up the perceptive screen and expands evenly in all directions. From time to time, images that stand out from the backgrounds are light and stylised like icons and the emotional wave flowing from the background surges up to reach the pictures, constantly expressing dynamism and a joyful élan. In the compositional balance they assume a central position, standing out powerfully against the background. They are often made from wood, painted and glued on. In the rigorously bi-dimensional space of the canvas, woven as if on fabric, some elements rise up and move towards the third dimension.
Besides his passion for the graphic and aesthetic aspects of his art, the Artist also expresses a deep love of materials, for the tactile manipulation of shapes and colours as a form of cognitive experience. This is seen in his choice of materials like sand and stucco along with wood, materials that get mixed up with colours and give a plastic relief to his subjects. In many cases the Artist uses rust, taken from old pieces of iron that he finds here and there and which he sprinkles onto the canvas so as to make use of all its natural colours. Sometimes words are his subjects and the Artist uses them as the central focus of the canvas. In order to understand his perspective and the way he uses writing in his works, we need to examine the common feature which binds the words he chooses: They all describe feelings or the realm of the imagination. They refer – more than other words – to the subjective, things which mean different things to different people as they relate to our inner, intimate life, to our personal and unique sentimental and emotional journey. Words such as dream, wonder, amazement or magic suggest things that we all somehow share, though they conjure different images in each of us. The artist uses large, smooth script with long, sinuous words drawn in a single curved line which curls up on itself before unfolding. Along with words other subjects are introduced again and again including hearts, puzzles and stars, elements tied to the Artist’s personal memories and which make up a kind of personal ideographic dictionary which is basic yet brimming with memories and suggestions.
The artist’s use of icons from the collective imagination, and which are therefore immediately recognisable, creates a constant conversation with the observer who is invited to join him on a journey providing a clear, free view and the chance to be amazed again by all the things in the world. In this way the Artist’s individual course becomes a path to a universal experience that everyone can feel as their own.