Massimo Kaufmann’s painting is based on the containment of evident contradictions. The apparent exaltation of chromaticism is balanced by the analytical process, the dizzying grounds coexist with the geometric order of an enigmatic and peculiar pointillisme, the brushstrokes, that is the craft aspect, complete one another in the device that mechanically allows colour to fall on the surface of a painting set horizontally, parallel with the floor during its creation.
One infers from the calibrated pouring that the painter does not have a canvas in front of him like a mirror or a window on the world, but has to stretch his limbs over the surface, neither emphasising the action nor feeding doubts as to a possible gamble on dripping colour. He leans as far as he can as he lends geometry to the formless, alculating and then giving way to ungovernable excess. In this stance Massimo Kaufmann displays a consistency with that search for measure evident in a number of his earlier environmental and sculptural pieces: the cast-iron weights or the tailor’s tapes, the atlas of the Weltanschaung, the structuring in the abstract space of a cell, the glass sections recalling an extreme tomography and the sacrifice of a human body in favour of scientific knowledge.
These are anthropomorphic practices that find romantic balance in the relationship between a Dionysian existence and the need for control, pulses that lend themselves to psychoanalytic interpretations given the polarities between availability and possession, female and male, chaos and form that find equilibrium in the single canvases and even more so in the diptychs that amplify the spectrum of relationships as if they were incongruent Rorschach cards or in the triptychs or the works on paper that multiply the infinite fallacies of such compositional experimentations.
Gianfranco Maraniello MAMbo director