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Donald Kuspit 2007
Florimbi presents us with figure after figure, many bizarre, among them
the portentous El Caudillo and the enigmatic and ethereal Floater, others
erotic if troubled, such as the women in Woman with Finger and Touching the
Surface, and others heavenly and sacred in import, like those in Woman with
Child and the figure in Floater II. Again and again we see central figures
floating or suspended in the sky--infinite space, as it were--perhaps most
noteworthily in Untitled, or else hovering above the ground, as in Racing
Figures. There is no question that many of the figures are art historically
loaded images.
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Woman
with Child, 1996
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Duccio,
Maesta’ with Nineteen Saints, 1310
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The
figure in Untitled (figure) can be read as a falling Prometheus,
the Woman with Child alludes to the Madonna and Child theme,
the figure in Floater II may be an enthroned Madonna, the
Racing Figure in the sky alludes to angels, and the figure
in Floater is peculiarly Icarian. But what makes Florimbi's
paintings convincing, apart from their quixotic appropriation--ironical
reprise?--of traditional motifs, is their construction
and painterliness.
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Racing Figure, 1996
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Giotto, The Dream of Joachim, 1310
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whole
are entitled "Station Crossing," an
oblique allusion to the 'Stations of the Cross;' the disturbed
movement of more or less tragic figures, now mythical
shadows of themselves, is the subtle point.
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Particularly
striking is their Cubist-type fragmentation--conspicuously
evident in Horse II, with its dissection of the rearing
horse (Renaissance inspired?)--into planar segments, doubling
the horse's presence while forming an abstract grid that
seems independent of it. One recalls the traditional technique
of grid division of a figure--famously illustrated in a
Dürer print--in order to better focus and analyze
the details of its appearance. In Florimbi's pictures the
vertical lines continue into infinite sky--the radiantly
blue sky--while the horizontal lines extend into the landscape.
The contrast between the heavily painted body of the heavy
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Florimbi, Horse II, 1997
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Albrecht Durer, Four Horsemen of the Apocopypse,1498, woodcut.
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horse,
looking somewhat calcified or petrified, as its chalky
and brownish colors suggest--it seems like a freshly excavated
sculpture,
still marked by the earth and death--and the more thinly
painted blue, adds to the tension generated by the fragmentation
of the figure. The fragmentation of the picture's space,
making the figure more dramatically present and highlighting
it by lifting it out of the
surrounding space, recurs again and again, for example,
in Woman with Child, Floater II, Racing Figure, and Big
Daddy. Untitled (figure) is completely "gridified," and
Touching the Surface is "allusively" gridified,
as the vertical drips and horizontal clouds imply.
There is clearly a nostalgia for the grandeur of past art and its all too human
themes, charged with mythopoetic meaning in Florimbi, but it is kept in
check by his constuctivist tendencies and, above all, in my opinion, his
painterliness. The atmospheric brushstrokes that compose the cloud in Floater
and the thick blue shadow his head casts make the point clearly. The expressionistic
gestures composing the landscape in Racing Figure jump out of the picture,
and the clouds in virtually all the works are abstract expressionist in
import. Their handling confirms their storm-tossed quality--their Sturm
und Drang energy. There is often an oddly lurid quality to the gestures,
especially evident in the sensual redness of Woman with Finger, confirming
their unconscious import. The color is often glowering and ominous, as
in the lower part of Floater II and throughout Big Daddy and Touching the
Surface. Florimbi is indeed concerned with texture, often as expressively
edgy and threatening as his colors. He may be dealing with ruins of memory--anxiously
recollecting traditional imagery--but his visual thinking is twentieth
century.
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I
think Florimbi is a fantasist using modernist methods of
handling and construction--distortion and displacement--to
add urgency to
his archetypal fantasies, that is, to enhance their aura
of dread. Touching the Surface is an important example--expressively
convincing
both as conception and execution. A naked young girl, her
head moving in agitation, her arms raised in fear, her
skin luminous,
stands vulnerably above an abyss, its surface covered by
a mesh of black gestures so that it resembles a trap used
to catch jungle animals. She dips a toe into this
morbid hole--a pool, no doubt, as the blue drips that fall
on it imply,
but also a hellish space, as its brackish look suggests.
She is framed by blue clouds, and beyond them, dirty white
storm
clouds. I suggest that the work is an allegory of female
sexuality. Is she about to take the plunge, as it were?
Is the pool-hole
a magnified projection of her unconscious sense of her own
vagina?
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Fanciful
ideas, no doubt, but clearly there is a sense of danger,
and the maiden's hesitancy. Sexuality rears its disturbing
head again
in Big Daddy, with his hands around the buttocks of the naked
woman he perversely presses to himself (the whiteness of
her skin suggests her
virginity, the brownness of his skin suggests his brutality)--is
the work an ironical reprise of Delacroix's Death of Sardanapalos,
1828?--and, of course, is implicit in Woman With Finger.
Sex, power, and spirituality seem to be Florimbi's basic
themes.
He gives them modern form and fresh impact even as he filters
them through traditional art. |
Delacroix’s
Death of Sardanapalos, 1828
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Though
Untitled Head II might seem like an anomaly in the context
of Florimbi's imagistic oeuvre--some fourteen years of
work
are in the exhibition--it seems to be a tour-de-force of
painterly handling and emotional expression. The paint is
applied both densely and subtly, the colors are white, siena
and blue, each subtly blackened. The soiled, ghostly heads
stands out of the brown-blueish darkness with emotional precision.
The work is an abstract fantasy of vulnerable humanity at
its most enigmatic. I think it is the climax of Florimbi's
urge to paint existentially.
Donald Kuspit, 2007
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Untitled Head II, 2007 |
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