Giovanni Gambasin's world stretches out in an immensely light-filled landscape.
The liquid horizon stretches to infinity and unravels in the light. A light that erases the obvious, the everyday, the banal, to reveal the dream. It calls for the right to silence.
And it is the same light that opens up the scenario where the Forme appear: it reveals a mental space where fantastic wrecks, anatomical forms, fragments of architecture, geometric games, liquid breaths that recall Tanguy, Mirò, Dalì, Moore, Lanfranco and others, all surrealists who in their mental scenarios practised solitude as a necessity, float.
Forms that are almost unbelievable in that they are symbols of the unconscious that elude any arbitrariness. At times only hinted at, or pulled like elastic bands, at times propped up by wires or nails or other forms. Shattered, soft, interrupted, musical, anatomical, sensual, erotic, interior, floating forms.
And in the liquidity of all this immense scenery, Venice appears elevated, or rather raised and in flight, like a detached piece, enclosed in a sort of casket where its knowledge can be read, well protected. A drawer suggests memories to be preserved indefinitely and some fretwork hints at a labyrinth as human thought. The geometries of the Venetian landscape stretch out open in the liquid light, like an embrace, like an invitation to reflection, never rigid and never declared, but always and only suggested by Gambasin's precise hand. The colours are also always liquid, the brush melts between one element and another, to immediately dart vividly into the perfect little signs. A harmonious and light language to describe the silence and solitude of Venice.
Livia Alessandrini - Villeneuve (CH) 11 January 2006