Fausto Bertasa - Table 7 monograph

The work draws on an Informal aesthetic language. The devastation wrought by World War II left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge led to a complete rejection of any visual language, resulting in the birth of Informal Art. The various Informal movements are certainly connected to American Abstract Expressionism, especially with regard to the gestural component, but they go further in their rejection of any figurative element, even geometric. Their research focuses instead on the material from which their works are composed.

Among the most important exponents of the Italian Informal movement is also Fausto Bertasa
He develops his own language through an intense perceptive exercise transfigured into gesture. The artist begins by acquiring sensory data and reworks it according to his highly personal feelings. Thus, the representation of his vision definitively loses all contact with phenomenal reality, translating into a pure transposition of matter and gesture. In this work, however, Bertasa, while remaining in the realm of total abstraction, does not completely abandon form, introducing rectangular geometric elements. But Bertasa's geometry has nothing to do with the purity of abstract artists like Klee or Kandinsky; his figures are shaken by the intense vibrations of his pictorial gesture and the brutal use of color. In this way, the artist is able to create a chromatic material that seems alive, dynamic, and constantly evolving. In the intensity of colors that merge into a living organism, existence pulsates dramatically and excitedly.

Fausto Bertasa (1953) is an Italian artist. His work deals with the visual codes of contemporary reality, from the barcode to the painted word, exploring the world of media, from international newspapers to the internet, from PC keyboards to mouse pads with particular attention to the messages of new technologies and to communication, whether digital, verbal or written. Despite the variety of media used (neon, photography, sculpture,
(video, drawings, installations) Fausto Bertasa's research has always placed painting at the forefront. Codified in the movement defined as "Cool Painting" close to the American masters (Philip Taafe, Peter Halley) and Austrian ones (Heimo Zobering, Franz Vana, Gerard Rockenschaub), Fausto Bertasa's painting starts from the search for a possible aesthetic of mechanical codification, from the suggested post-industrial reality, today's world of post-industrial, today's world of post-truth.

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