Massimo Pulini - (Cesena 1958)
LITERATURE: "Solve et Coagula" G. Papi 2003; "Il Museo Sonnambulo" L. Fornari Schianchi 1999; "Tempestas de Memoriae Ruinis" Claudio Strinati - Maurizio Calvesi 1997; "Nero d'Avorio" Sabrina Foschini 1992; "Massimo Pulini" P. Portoghesi 1989; "Massimo Pulini" I. Tomassoni, Perugia 1984.
Massimo Pulini started exhibiting his work in 1977 with a revolutionary display of art relics in the desecrated church of St Lucia in Bologna. He worked in Paris and exhibited at the Galerie J.P. Lavignes in 1983. In parallel, he begun to undertake an extensive research and study of Baroque Art, achieving increasing recognition as an art historian in Italy and in Europe. His interest in such historical investigations is evident in his work during the eighties and nineties when he published extensively and exhibited throughout Italy. His style has been defined as "Anachronism", a conceptualism based on a technique of "superimposing" of images, in dialogue with one another; his paintings being foremost on a blackboard base or, if painted on canvas, on a dark background against which images emerge in a brilliance of ivory black light.
As if to reiterate that "art is always born of art", Pulini has recently entered a new phase, of which the work above is a superb example. Here, he uses strong colours as if to evidence the fragility but also the regeneration ability of art.
"Convolvulus" is a bushy plant which produces an abundance of bright, eye-catching flowers with a yellow or golden heart. Unfortunately the glory is short lived - the flowers open in the morning and fade in the evening.
Convolvulus Purpurens
