By: Leyla Justo
… In fact, I was thinking: if I entered a room with only these paintings hung around in the walls, I’d feel being observed, judged. As if I couldn’t get out from there. This is a first impression.
As if something, someone wanted to imprison me. With him or her…
Anyway, we find here two kinds of gazes. These which plunge on you; and those that go from one character to the other: the one who looks at you…
These are the works of Alessandro Sicioldr Bianchi…
The countenances are, in true, only one, the same. And they’re always taken from the same angle.
On the other hand, the gazes, the attitude in the eyes of each character, though composed in a similar way, do express something particular in each case. All of them, nonetheless, judge: these that trap us; and those which grab the other creatures.
Judgement comes exclusively from the gaze.
They don’t say anything: they’re mute creatures, with sealed mouths (another confinement, or the same one, but expressed in a different manner). For the same reason, if they’re asking for help, they don’t say it, cannot say it.But, perhaps the fact is that they don’t want it?
Why? Which is the motivation? The confinement’s motivation. Why does Alessandro confine his characters…? And, where…?
Let’s break it down bit by bit.
There’re two kinds of scenery: cloisters and open fields. Though they differ from one to other painting, they share a common territory: they’re thus the continuation of one place, the same landscape as background. They’re a unique particular world.
Though Alessandro’s influences are easy to trace, the world he depicts is not, so to say, ancient. It’s a different one, another region. A region suspended in-between ages: a misplaced day but always in the same hour, at night, when demons surge.
Darkness predominates in all the paintings. The characters’ costume rules also: simple, black tunics, suitable for the ritual. They conform to a cult, maybe. A dark one, doubtless, but –attention!– in moonlight.
Let´s take a look at the characters and their relationship to the moon. Their rounded heads, hairless, are a reminder of it. And this same feature leads us still farther: it makes difficult the gender’s distinction in almost all the cases. The necessary inference will result from the way in which the same face, in the different pictures, seems more or less delicate, inclines itself more or less to one or other gender.
(I remember a commentary of Juan Pablo: What about conceiving melancholy … as a way of eroticizing pain…)
The judging gaze comes from the darkness. From a darker place, from far-off; that’s to say, from a deeper layer in the same dream. To reach it is nonetheless easy: Windows, doors, pits or mouths give way. Maybe they make an invitation. And voyeurs appear; but it’s right, and most significant, to say that they penetrate.
It’s curious that the same heads that make their apparition through portals obvioulsy erected to this end, look like the moon itself, a commonly female sign.
In these paintings, those who penetrate are those who judge. This conection seems easy to make. But -another darkness- they present clearly female features.
At this point, gazes may be deemed as unclear. Undecided. A reference to a conflict.
In the room only for A. S. Bianchi, there’s an image that offers itself as a way out.
Would it be too audacious to say that it’s the most intimate character of Alessandro?
Let’s see: now, far off –something very unusual–, the creature which judges the fallen one, the little standing at the latter’s feet, is shown clearly as a full-length representation, a minor one given its exceptional character, beyond the threshold, in this case a crevice in a probable wall; and it’s dressed in white!
Here, if there’s a judgment, no condemnation appears.
(Translation, by: Roberto Zeballos Rebaza)