Gandini - Still Life

The “Still Life” genre emerged at the beginning of the 17th century. It consists of depicting compositions of inanimate subjects, in most cases flowers or fruit. While at the beginning of its history it provided painters with an opportunity to attempt a naturalistic or photographic reproduction of reality, in contemporary art “Still Life” also becomes a way of interpreting reality. Indeed, as will happen, for example, in Cubist avant-garde or in Giorgio Morandi, the profound exploration of objects will culminate in a conceptual representation, taking it beyond mere sensory data.

As we can see from the analysis of this painting, the subject of “Still Life” provides Gandini with a pretext to develop his own original aesthetic conception. The artist starts, first of all, with a geometric reconstruction of reality; for him, it is essential to investigate the form and structure of objects and arrange them in a rational system (and the choice of “Still Life” objects is very telling in this regard). However, Gandini himself wants to disrupt this established order to accentuate the expressiveness of the work. And so he distorts the objects, elongating them unnaturally to make them more vibrant with energy in their existence. The choice of colors also does not reflect a reproduction from life but is based on values of an expressionistic nature. Furthermore, it should be noted how the entire composition is characterized by an elegant and refined minimalism.

As we can infer from the analysis of his works, Gandini is an artist who has developed his own aesthetic conception that perfectly combines geometric and minimalist rationalism with a restless expressionism.

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