Giulio Serafini was born in Urbino, where he attended the “Scuola del Libro (Book School)”,one of the most famous for the art of engraving. Once he had learned this refine technique, he began an intense but necessary apprenticeship which enabled him not only to master the ancient art of copperplate engraving, but also to acquire awareness of his own abilities and aspirations. In the same period he had the chance to collaborate with important contemporary artists, among whom Arnaldo Pomodoro, with whom he produced the book-sculpture “De Cantare Urbino”, and Walter Valentini, with whom he realised the book-object “Dante anarca”. He also worked with Giò Pomodoro, Mario Ceroli, Emilio Tadini, Mimmo Rotella, Eliseo Mattiacci, Edgardo Mannucci and Giuseppe Santomaso. In the meantime he devoted himself seriously to painting and wood carving. In that period he began his first exhibition, both collective and personal ones, which were important for his artistic and personal growth, allowing him to confront even very distant realities. Acids, copper, wood, paper, powder, colour, all skilfully blended, identify the art of Giulio Serafini. The artist is a member of the Association “Urbino-Arte, art culture and knowledge”.
PERIODS AND SUBJECTS
A longside abstract compositions articulated with geometrical shapes with a clearly plastic form, the artistic presents a series of work with a romantic tendency, inspired by the moon. Skill is blended with inspiration and his precise, painstaking lines translate the images and emotions of the soul. Perfect circles are at the same time geometrical shapes and dreamy moons suspended in the heavens. Serafini works on canvas, wood and stone.TECHNIQUES
Marble powder, acrylic and enamel on canvas; marble powder, acrylic and enamel on wood and sandstone.
"THE SEASON AS INNER TIME" by Paolo Levi
The abstraction of Giulio Serafini has sophisticated, almost romantic connections totally unheard of; not only does he breakaway from fixed patterns, freeing himself from coded models, but his flight to explore the night sky is like the lonely song of a Pierrot Lunaire. Time for him is the measurement of the terrestrial and solar cycles. A poet of the palette but also in the sensitivity of the significant titles of his compositions, his pictorial writing, a refined tonal game, should be understood as a feeling of regeneration. It is a matter of a series of pictorial moments, to be read as the immanence of deep participation. The artist uses his own tool to add with feeling the colours on the canvas , doing so according to a mysterious inner rhythm, redrawing, with a semi-geometrical writing, , tonal and with an expressive anti -naturalistic cut, the immanence of celestial bodies. This artist works through the filter of abstraction, looking for a state of mind, evoking images and allusive scans of circles, semi-circles, playing with the tonal plates, and guiding the gesture of drafting as if programmed. The secret rhythm of his dreamlike skies begins from a stream of consciousness and transposes into a creative gesture, done as a journey of unexpected moments and of meditations translated into shadows and lights. His research, even before being an answer towards the visible not within reach ,is a tension towards transcendency. His pigment on the canvas enjoys an unprecedented vital duration. The response that comes from these compositions cannot be confined to a classification of style, as it is musically abstract. The signs and the masses vibrate with tones, being the product of superimpositions and harmonically orchestrated counterpoints. Between the artist's participation in the secret material of time and his abstract material, one feels the effect of a secret pact, or some sort of romance which, in terms of narration, submits itself to a glance as visual poetry. Thus unfolds the force of an apparition a bearer of messages, born from a sunny consciousness, after having intertwined a dialogue between his own inner life and heaven. In these geometries that refer to the Moon and the Sun there is all the wealth of the universe, which reflecting itself on Earth, becomes the backbone of an abstract construction, but significant as a sign of infinity. Serafini’s way of communicating is immediate and spontaneous, but his true pictorial quality lies in having abandoned the gesture as objective behaviour and executive diligence to give priority to an innate ability to narrate the secret synergies between heavenly bodies and the effusion of colour. At the extreme limit of a spirituality even excessive, here we are facing a vocation rather than a creative attitude, which seems to bring the artist to celebrate an intimate meditative and luminescent solitude; a loneliness undoubtedly rewarding, which is perhaps the awareness of the human condition eternally poised, according to Pascal's fascinating definition, between nothingness infinity. His works are made of sound and colour, withheld in the secrecy of the tones, but together contained within the boundaries of a geometric writing that often alludes to figuration. In all his work, where often the magnificence of red dominates, and where the pictorial gesture is firm and delicate like that of who guides the bow of a violin, secret relations vibrate between form and matter, displayed in a kind of circular dance, in a conjugation of arcane rhythms of an elsewhere, located far away – or perhaps very close, for those who know how to perceive it.