Et il y a de la musique
Matériaux et médiums mixtes
Mixed media
76 x 61 x 7,5 cm

Huile sur toile
Oil on panel
30 x 40,5 cm

Matériaux et médiums mixtes
Mixed media
51 x 41 x 7 cm

Montage no 1
Matériaux et médiums mixtes
Mixed media
91,5 x 71 x 8 cm
Moreover, the painter arranges enclosed chambers, similar to chambers in the heart (Sans titre, 1999), boxes, cases (Composition no 4, 1975; Et il y a de la musique, 1978-1980), he carves out niches covered with landscapes of the soul, the monad. A reorganization of spent forces thus occurs in the intimate feeling of reordering, psychic repair, wound cauterization. In these pierced boxes and slit bellies, opened up by the painter to better evoke closure, prohibition, the outlined places are inscribed within the visible, despite their inaccessibility. If they are rendered perceptible, it is as hiding places where the painter made his depositions (La lettre, 1976). Here reigns the immeasurable silence of the object, the thing set down, perhaps buried . . . unless it is the void, a void that possesses no absence, but on the contrary forces the feeling of a secret but tangible meta-presence.

Here and there, checkerboards, lattices, indecipherable signs, impenetrable trails proliferate where space tightens, air condenses between lines, stains, molecular membranes, raised pools of colourful material. The placed and displaced enigma privately symbolizes the enigmatic nature of any work of art, even when it imposes itself as the objectified enjoyment of the self, autonomous body, yet imbued with mystery. Though a somewhat labyrinthine structure introduces the Daedalus, the threads get lost, tangled, initiating a dead-end search of jumbled pathways, circuits that turn out to be closed (Multivision, 1989). Visually executed indices of loss, aberration, or else the pure pleasure savoured while lingering within the confines of the work, in no hurry to leave. Time then-suspended is inlaid in the meandering lines, pathways, outbursts, events of colourful material.

When simplifying these effects prevails, when reducing the means holds sway, then the reinforcement of plastic articulations is imposed through superimposed planes, opaque screens, inscribing the gaze as the stand-in for gesture and vice versa.
Then, large sections built as monolithic surfaces are stripped down, minimized (Composition, 1970-1971; Composition en noir et gris, 1981). They stand, in the shape of more-or-less-irregular crosses, triangles, squares, held and tied by the glued ropes that bind them. Thus they are erected, in implacable silence, mono- or bichromatic sobriety, matching the simplicity, the mute monumentality of temples and tombs. A meditation space then opens up, inert surfaces, awaiting the Event.

Other works appear as large totems, rising hieratically and restrained. An almost-dormant surface (Composition façade, 1983-1984), or rather, one stilled within its cold shell, a figure frozen in a frontal position, where minuscule signs, tremours, fissures, crack the sedimented layer of white/blue/grey. As though the surface were no more than a sensitive plate where appear, proliferate, minute palpitations of frosted flowers, the apposition of a few fingers with phalanges placed symmetrically in the secret geometry of a body buried, flat on funeral pallet, palpable surface, palpitating in certain tiny places. In this flattening of vibrant shapes, one might read undulating, subterranean lines, the effect of multiple folding “in a coextensivity of the unveiling and veiling of the Being, the presence and withdrawal of being.” (4)This would be equivalent to what Mallarmé calls “the fold of the world”, where the fold folds over itself in inclusion, “packed down in thickness, offering the minuscule tomb, certainly soul.” (5) A matter of monad in this differential in-folding of being and world, outside and inside, façade and chamber. If materials give way to modes (folded forms), a kind of indiscernibility is generated here which Deleuze reads in another painter of materiological textures (Dubuffet), through questioning: “Is this a texture, or a fold of the soul, of thought?” (6)

The painting is sometimes modelled like a stringed instrument (Montage no 1, 1979-1980). In its artisanal fattura, its glossy mahogany surface spreads out like a stringed instrument. The painter may have fashioned, at his discretion, viola or violin, tables, easel, soul, f-holes, distributing rhythmic metre, measures, and thus opening a space both musical and plastic. On this flaked, sectioned surface, the shifting of planes, hollowed and protruding, appeals to the sense of touch, tactile connection, haptic space, and one could well exercise the desire to touch, caress its parts, and stroke the bow there. Then, Riegl would whisper to us his thinking on the primacy of the tendency towards abstracting the art object, which would “give the spectator the soothing conscience to enjoy the object in the immutable necessity of its closed material individuality.” (7)

This serious and silent aspect of Giunta’s work would alternatively be rewarded by the appeal of opposites. Playful fantasy, lightness, forms of soaring, floating, being torn from the earth, with the capacity to re-establish a euphoric element in the work (Muro Dell’infanzia, 1990). Isn’t this unavoidable recompense, this oscillating movement, essentially faithful to the source of life? For if Giunta the painter enjoys providential resources to fuel his work, isn’t every work also a replenishment for the painter, who exchanges his life with that of the work, dual shared fuel, that simultaneously nourishes both, painter and painting, by the light of a daily wait at the communion table.

Françoise Le Gris

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Pages: 01 - 02 - [03]

Sans titre
Matériaux et médiums mixtes
Mixed media
76 x 61 cm

La lettre
Matériaux et médiums mixtes
Mixed media
41 x 30,5 x 3 cm

Composition en noir et gris
Matériaux et médiums mixtes
Mixed media
25,5 x 20 x 5 cm


Composition façade
Matériaux et médiums mixtes
Mixed media
122 x 91,5 x 8,5 cm



Muro Dell'infazia
Médiums mixtes
Mixed media
76 x 61 cm



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