Senza fine, 2006

A regular pattern of golden frames overlap a modular grid of rectangles outlined on the wall with similar regularity, but larger in size and cadenced at greater intervals (the rectangles at the ends are open, indicating potential continuity). In the central area the drawing is integrated with two rectangles that are much larger than the others, suggesting the free extendibility of the modular units. The rectangle corresponding to the centre of the wall features diagonals marked in red pencil, which through their continuation into the two larger rectangles allude to a potentially unlimited expansion. Beginning in the central rectangle and moving outwards is another drawing in red pencil, which on its part marks the diagonals of the wall, extended as far as the edges of the same.
The “endless” multiplication of the same subject – the frame of a picture –, the work brings back into play, amplifying it, the formal and conceptual dimension of the artist’s earliest work, Disegno geometrico, 1960 (GPO-0001). The ideal container for all possible paintings, Disegno geometrico is recalled in the dimensions of the frames (40 x 60 cm), the proportions of the rectangles (derived from that first parameter of measurement), and the red diagonals. Constantly in search of a painting – or rather of the Painting par excellence – the artist always retraces his steps, “endlessly” renewing his attempt to set in a work a dimension that by its very own nature escapes every definition (hence the use of the golden frame, for Paolini the cipher of a sublime idealism, an ineffable absolute).