Artwork publilished on the catalogue of the solo show "Trimani o Tenevai"
Giovanni Trimani’s works filter the influences of past masters, modulated in a totally
personal and contemporary key. Among the various works by Trimani we can find Picasso, Maccari, Manzù, the fauve colors and the emotional strength of German expressionism.
Giovanni Trimani is an artist who starts from the experiences of his life, elaborating them and proposing his emotions in a key that is as universal as possible, so that it can be
shared by anyone. And here is the strength of an artist: being able to reach the heart of the user, being able to narrate the user’s emotions through its own.
Although Giovanni considers himself a professional since 2007, the roots of his being an artist goes back to 1987, when he was lucky enough to meet Franco Giacchieri, a very important Roman painter. Over the years, Trimani has refined his technique with an exhausting practice accompanied by daily and scrupulous acknowledgements, along a path of continuous learning and training that still remains a fix point of his work.
From the first oil paintings up to date, he has always placed at the centre of research the sign, declining it both in painting and in sculpture, as well as in architectural design interventions. Man, in his most aulic definition, is the centre of his aesthetics, which he elaborates and proposes in an interpretation that is as universal as possible and shared, even though starting from a careful analysis of his experience. The challenge with himself is the fuel of his creativity.
The classical techniques, oil, watercolour, pastel, tempera marked Trimani’s youth and his formative years, during which, in a crackling and surreal exchange of experiences, he learned from the great artists of the past, of whom a clear imprint is visible in his works.
The achievement of a mature style, as the result of a personal interpretation and
elaboration of the world,is clearly visible today, in the important and complex AssediA project, which represents a large part of his production.
The subject most represented by Trimani in recent years, in fact, is the chair, not framed as a still life, but as an observation point in search of the deepness of Man. Divine and material creature, made of body and soul, tragically involved in its completeness. Trimani’s observation, however, has a purely descriptive purpose. His chairs are a succession of portraits inserted in a dreamily defined space.
Acrylic, used on canvas and on heterogeneous surfaces, emphasizes the artist’s creativity with a particularity of chromatic combinations. Playing on contrasts, he develops a personal and balanced skill, combining other techniques (watercolour, inks and markers) both individually and in combination, managing to create balanced and harmonious compositions.
In recent years, Trimani has gone back to sculpture in electro-welded iron, mixing pre-existing elements with new profiles with a refined and complex manufacturing technique. (A.V.)
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