ASTRACTURA is an aristic movement that was born in Na- ples in the early 2000s by the will and work of Rosario Pin- to, critic and art historian who joins a group of artists to be able to act in the world of Geometric Abstraction.
ASTRACTURA was conceived according to the principles of: LINEARISM, CHRONOTOPIA and KINESTHETICISM
which define its own identity by constituting its ‘contents’. ASTRACTURA proposes a simple art message, which takes into account the role of the user in the creative process according to an active participation or a simple contribution to giving meaning to the work of art.
The Movement currently has about thirty artists from various countries of the world.
Profiles of the artists of Astractura
Diego Alexandre Asi
The figure of Asi is placed within the abstracturist affair with the awareness of a large abstractive experience that derives from a tradition of great thickness that has its roots in the decisive experience of Torres Garcia.
Here, therefore, that the sensitivity to a playful conception of art becomes with him, thanks to the incidence of adttacturist principles, a reason for the synthesis of languages and, above all, for clarity of geometric structure
Lorenzo Bocca is an artist who develops with constant creative commitment the dilated project of experimenting with opportunities that can offer the profound realization of the wealth of opportunities that can emerge from the enucleation of ever further scans from a module assumed as an identity profile.
Along this gradient, his experimentation shows that it is faithful to an absolutely valuable principle of internal coherence, which allows the distinctive abstracturist peculiarities of the ‘linearistic’ appeal to the simplification of forms to emerge.
Maurizio Bonolis production assumes, in relation to his ‘abstracturist’ sharing choices, a characteristic of explanatory opportunity of the founding reasons of things. The abstractive commitment becomes revelation, and this occurs on the basis of the abstracturist chronotopic principle which makes it possible for things to manifest themselves as an effect of the productive processuality of time.
Of great interest, in his research, is the disposition to read constructively, in the abstractive practice, the relationship between symmetry and harmony, managing to grasp the measure of a convincing balance, which evidently escapes the temptation to put in close relationship the two things.
Lightness, which should not be confused with the ‘lightness of being’, which is synonymous with disengagement, makes Rosario Buccione an artist of marked sensitivity.
All of this is significantly highlighted in a creative practice that designs with subtle vibrations the profile of that rational and geometric ‘animus’ which constitutes the inseity of things.
Moreover, his creative practice of dry essentiality is looming; and this applies to the artist to enhance, within an abstract-geometric profiling, the personal qualities of a sensitive interpreter of human reasons.
The synthetic definition of Bruno D’Angelo ‘s artistic activity can be contained in the formula of a creative process in which the dynamics of unintentionality act within the perspective of the project according to the order of the geometric construction.
D’Angelo’s personality should be read against the backdrop of a phenomenology that points to reality as the consistency of what an empirical notion of time defines as the present, evidently leaving room for a kinesthetic measure to intervene as a decisive factor not only for fruition, but, properly, of judgment.
Gabriel De Gaudi
Gabriel De Gaudi proposes with his own research a testimony of the opportunities that can be offered by providing a linearistic resolution of an eidetic content of impermanent constructivist ancestry.
This guarantees the artist to ensure the substantially planar profiling of his creative dictation a mobility that is justified according to the abstracturist call to linear essentiality, which constitutes the point of an innovative proposal to be able to look at a proposal for the actualization of the abstractist dictation.
Lucia Di Miceli
Lucia Di Miceli ‘s painting which follows the lines of abstracturist guidelines is a significant research contribution in the field of abstractive practice. By carefully observing the scope of his creative delibation, one can, among other things, appreciate a creative determination which, while sometimes proposing itself according to eclectic scansions, does not fail, however, to be able to become an interpretation, in the specific abstracturist intervention modalities, in the manner of a convincing and reasonable synthesis.
Francesco Gallo ‘s personality is that of an artist who was ‘born’ as an abstractionist and he, in fact, has practically always activated a process of approaching the givenness of things, trying to identify the most properly characterizing reasons.
In the time preceding the one in which Francesco Gallo adheres to the Movement of Abstracture, his personality appears committed to interpreting abstractive reasons according to a scansion that is proposed to be significant for the effective relevance of the testimony of internal coherence.
Salvatore Giunta, Roman artist belongs to the ‘Astractura’ movement. His works concentrate the linearistic, chronotopic and kinesthetic reasons that distinguish and identify the movement of ‘Astractura’. The artist’s works are legible in a multiple vision that enhances the protagonism of the user, suggesting dilated and multiple perspectives that allow extraordinary openings onto a world of ideas and and of signs
The human exuberance and the generous passion of his sign intensity contribute to making Artuto Millan ‘s creativity the creative place where the asgracturist dynamics manage to pour out in a convincing contribution in which the geometric standardization finds space in an irrepressible gesture of high expressive charge.
We could also add that this ‘expressive’ charge creates a symbolic delicacy within which the combination of geometric arrangement and ‘expressionistic’ vibrancy finds an optimal composition in a convincing construction of an abstracturist vision with a clear material imprint.
What the creative profiling of Kleopatra Moursela suggests is a productive direction that moves from a clearly constructivist logic to then arrive at a perspective of broad linearistic caliber within which the artist manages to give substance to intriguing structural and chromatic that determine a multiplication of visual opportunities within whose perimeter those conditions of a measure of kinesthetic intervention that are typical of abstracturist logics are manifested.
Carmen Novaco directs her creative research by showing how it can be possible to produce a convincing reconciliation between the regulative instance that is proper to the abstract-geometric prescription with the psychological and moral impulse of an existential involvement that calls the artist and the user to become participate in a sharing of experiences and aesthetic emotions. Along this path, our artist gives life to the production of a sign universe that stands out for the particular and intriguing mobility of its parts.
The productive orientation of Ulla Pedersen ‘s work animates an extremely ductile construction of abstractive profiling that draw an organic set of ‘variations’ that move like dry kinesthetic determinations against the background of a plateau of a broadly constructivist order and open, however, to sensibility ‘concretist’ which are well constituted as a basis within which to let rest the consideration of the abstracturist significance which manifests itself as linearistic ductility ready to incorporate and re-launch in a kinesthetic measure a profiling of mobile and vibrating constructive arrangements.
Pietro Pezzella ‘s creative perspective responds to the psychological and moral need to provide a vision of things which, certainly, does not turn to the restitution of their epidermally emerging data, but which does not disregard this data, intending, rather, to provide a ‘representation’ ‘ eidetic.
The artist’s adherence to abstracturist logics has allowed the artist – as a diachronic examination of his production clearly highlights – to proceed with an essentialization of the formal datum, enhancing the datum of a basic constructivist significance in a chronotopic perspective. .
The creative experience of Salvatore Starace finds its place in the delibation of a material dimension which is absorbed into a defining circuit which is that of the geometric order.
However, this geometric order is not that of abstraction, but rather that of the decomposition of reality into its fractal particles, which enucleate in the partitioning of the contingent and the detail, the explanatory nodes of a wider order.
The ductility of Yessica Zambrano ‘s work allows her abstracturist practice to be framed as a manifestation of a dry kinesthetic determination which bases its propositional structure on a basic structure of strong material sensitivity, which develops according to an effective contribution of valid unintentional factors to justify more than an informal traceability, a nuclear vibratility, which must be understood as a point of reference not for a drift of thoughtless propositional motility, but for a préalable device that is motivated along an implementation axis of subjective gestures.