The intrinsic nature of the series of works Ambaradam by Giuseppe Bombaci emerges from his own words during an encounter in his atelier, full of canvases, some on display and others wrapped up, so with elements of light and of dark, just like the surface of his works. A phrase of his grabs my attention and leads us to the ultimate purpose of contemporary painting, to the conquest of an art that is purged of schools and conventions, and which take on a free identity of harmony of shape and colour: “Painting doesn’t have to look like anything that exists in reality. Every artist speaks their own language, one that helps to translate the new images they generate in their own minds onto a solid support”.
It doesn't matter whether these works evoke gardens full of lush vegetation which recall canvases by Clifford Still from which shiny, edgy little zips emerge, inherited from the painting tradition of Barnett Newman; whether nature takes on the ascetic and symbolic enchantment of the landscapes of Paul Klee or whether Kandinskij brings abstract art to life starting from the same sort of considerations as our artist. Or rather, perhaps it does matter to the extent that the attribution of an artistic choice to a source of undeniable historic connotations gives legitimacy and even authority to the creative gesture; and it is equally interesting to note how Bombaci’s knowledge of the history of art and wide-ranging visual culture contribute and enrich his works and invite us to observe the elements carefully, one by one, everytime we see one of his works, in an exquisite game of virtuoso knowledge. There is much more of course: human presences that seem to have left their spirits to guard over the treasures of those places, a spent energy that wants to arise once more, sensorial stimuli, care for life, elements of physics and metaphysics; and lastly Love, for all of Creation, a love that seems to whisper to us in these Paintings-Nature from the contrasts of the fields of vivid colour and in the variety of the materials used.