“He throws in, fishes out and re-composes his pieces as dictated by an automatic writing but a writing that is always strongly attached to a figuration that is captured, observed and stylized.“
Mr. G’s world is populated with fantastic characters stuck between objects that come from reality and are the protagonists of the new urban alphabet. A clear stroke, black well-defined outlines that recall the style of the late Keith Haring, and from him, he seems to have inherited the tendency to rid the figures of flesh and flatten them, then repeat and clone them. An alphabet that multiplies on the walls, mostly on the Florentine ones, but which also finds another natural habitat on paper and in silk-screen printing.
A mix of references, unconscious ones as well – in reality, they don’t seem to be inspired by one particular artist, but rather to tend towards the world of illustration – in a series of re-contextualized icons, revised and corrected. New icons, taken from his dream-like surreal world, of feet that walk alone, of big eyes, that become recomposed as a puzzle along with the icons of objects drawn directly from the most banal everyday life: a hammer, a nail, a pencil. Everything is subjected to the same treatment under the marker, the brush or the spray can of MrG, an artist from Abruzzo who, some years ago, moved to Florence and trained at the school of industrial design.
Cigarette-chimney beside a bestiary of hands that hold eyes between their fingers, characters trapped between geometric figures and solid elements, in an apparent attempt to break away from the background. A background that is sometimes empty, sometimes obsessively filled with the textures of polka dots, fake rains, stains, drops and dots, which bring everything back to share the same level, the same world, the same dimension of reality.
What is boiling in Mr. G’s pot? He throws in, fishes out and re-composes his pieces as dictated by an automatic writing but a writing that is always strongly attached to a figuration that is captured, observed and stylized. A filtered reality that can find a reference to the Italian radical mixed with the world of graffiti. A new lettering that has more tangents with the language of graphics than with the writing of the languages of graffiti, a whole language of its own, and there is the urge to say it again.
From :: This is so contemporary :: by Serena Becagli