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1972

A spontaneous and genuine painter, who avails himself of a well-done treatment of the colour that does not prejudice violence to the figures imprint on the painting and on the whole, he is equally clever at using chromatic harmonies. His works break a little away from traditional type with often successful attempts to produce, we will say on life scene, a new matter and from here a new erpretation of his upset feeling, with his typical backgrounds of the difficult situation and of the anguish of our times, which particularly reveals itself in many young artists.

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1973

The attention of Bonnie-Kent in regard to reality leads to the consideration of normally disgregarded details, which he revives in an expressive optic. This optic aims to discover the sign of essential consideration. His agreement to figurative art as complete representation doesn’t prevent him using the symbolic terminology which is more accentuated in certain pictures, creating emblematic atmospheres. his is the case in some still-life, which are created as a representation of some emotional moments, yet at the same time full of meditative tension which can be found among the signs of structural composition and of the cromatic language. The constant search of the artist  to amalgamate the formal and content components,find the synthesis in the chromatic choises, made of discreet colours in the background and light colours in  the foreground, with a meaningful series of contrast.

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1982

  His painting is harmonious among the warm and the dense colours, which are hidden under his inimitable palette, wonderfully happy in “ profile of girl  and still-life with book ”. Bonnie-Kent’s paintings are full of light and poetry, with feverish hand and strong inventiveness. We have only to emphasize the cleverness of this young artist, who knew in a short time how to become popular for his modern painting, spread with colours and precious for deep poetry

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1983

Bonnie-Kent is an artist gifted with great sensitiveness and with a marked sense of observation. His works witness a keen, participating and vital interest in com-parison with reality, because according to this artist the art is  a vital interest for the existence. He is very sensitive to beauty and is generally projected within the ambit of an aesthetic pursuit, which could show up, in the light of psycho- analytic perception, the pure conceit, the idea of notion acquired from the experience of the empiric ego. Paint, charcoal and china ink clarify in their creative breadth, the need of  search of this artist. The works realized with charcoal symbolize the reverse of the medal of Bonnie-Kent. The artist raises from the notion of objectify the figure of the woman in abstract form, separating it from its physical essence. An appearance comes from this separation, an illusion closely bound to the   perception of the creative ego, in comparison with the acquired notion about which  the subject has had experience. We define Bonnie-Kent’s works “Studies of ae-sthetic criticism”, where sensitiveness and rationality are present  in the same proportion.

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  In the diorama of contemporary Painting, valid artists deserve to be taken into consideration, for the artistic and cultural apparatus which modern society need to evolve its level of culture; Its human and social relations. One of these artists is Bonnie-Kent Paul, Born in Cattolica present in  several artistic dictionaries and encyclopedias of contemporary art. He deservedly succeded in imposing himself on the attention of the criticism and of the public opinion, for his pictorial modus always looking its own creative language. Autodidact, he has been painting since 1969, steadily, emotionally and with positive will. These quailties have proved he is right and have brought his name trough review of art, in various European Capitals and in the United States, to a position of a first-rate artist. Bonnie-Kent is an artist endowed with a wonderful  creative sensitivity and with a strong sense of observation. His works bear witness to an always keen, participating and vital Interest for the reality because for this artist  art is life. The vitality that spreads  from life to art, is always reflected in the author, observing, daydreaming, in the radius of the figures: in the development of hiseelings and emotions. In his “ intus” all a cosmos is lighted in the spring of thoughts, of concepts, bound to a primigenial emotional impetus, searching into the nucleus of imagination, the sharp net of feeling. He’s usually very sensible to bea-uty, and he’s projected in an aesthetic research, which can point out. I the light of the psychoanalytical  perception the pure concept, the “ idea ” of  knowledge acquired from the experience of the empiric ego. Paintings: “nudes and still-lives” show the stamp of an intimate dimension, interwoven in the harmonic arpeggio of warm and winning tones, in the wise study of discreet lights,  gushing from the vein of a lively emotion, effect of an eloquent lyrical enthusiasm. But the most interesting in these paintings  Bonnie-Kent’s  perceptive-constructive ability, tending to a careful research of figurative elements,  which carrying out an expression of form, can promote in the substantial prehensive psychic perception to understand them in the revelation of their aesthetic value, creates the ideal  condition for a critical medal of Bonnie-Kent, showing the bottom of our artist, drawing a parallel between“  lives and fantastic”  between“ reality and illusion”; he defines these creations “ illusions”; in fact in art-philosophy subjectivism and illusionism go together. The artist moves from the notion of objectivenes sto objectify the figure of  woman in an abstract form, isolating from her physical essence. From this separation an appearance an illusion come out and she is intimately bound to the perception of the creative ego, in comparison with acquired. Notion, which the subject has already known by experience.The series of illusions “ women in profil meeting”  etc. are forms and sentiments objectified,intuited in the space of an  illusion, like something of ultra-images with specific aesthetic characteristics;  something that gives spiritual delight stimulating in the subject the aesthetic feeling of rhythm, of harmony, of grace; disclosed like essential qualities of the object, realized in a contemplative perception.We can define Bonnie-Kent’s works “studies” of esthetic criticism where sensibility and rationality partecipate both in the same measure.

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1985

In order to sensitive the public opinion towards the expression of the master Bonnie-Kent, who is worth knowing and appreciating for his laudable activity carried on during the past years and, with a more intense passion, he is carrying on the present year, I have given all  my enthusiastic approval and I feel honored to pointing it out  with this writing. Guttuso, Annigoni, Vespignani, Dova, Quasimodo, Ungaretti, etc, do not need  introduction in conformity with personal value. I wanted to point out this artist, for his complete devotion to noble art, in which he excels for uncommon merits and authentic value, because I want to mention him as an important example, a reference point and a milestone in this intricated world he belong to with full and sacred right.

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  He is a refined lover of the form “ the nakedness represents one of the cardinal points of his art”and he learnedly knows how to take advantage of his pictorial gifts proposing us figures with remarkable aesthetic and lyric power. We have admired him as a tireless searcher after artistic expression in his “ illusion”,  which are abstract creation in suspense between imaginary and rational, where the empiric and the artistic ego unite in a symbiosis of exquisite sensations. After this period we recognize Bonnie-Kent, who is maturer and conscious of his acquired experience, to  Iillustrate a very interesting proposal of abstractionism. He follows two lines: the abstract painting without significance. Making this distinction he intends to express the intellectual meaning of abstractionism, which is understood as a study projection of the conceptual analysis of art form  and expressive authenticity, in pursuit of interpretative means of plastic language and still connected form with a literary  meaning, which became  the impulse of intellectual activity beyond the concept of sensorial limit  and form of pure abstract conception. In every form he reveals himself to be an intelligent and fanciful artist. The revealing components of this painting are: the linear model of basis framework, realized with originality and elegance; the structural harmony of compositive compages and the adoption of primary and complementary colors with ability and good taste. Oil-colours and china ink obey a form pursuit; still-lifes,  painted with china ink, are interesting. They are abstract stylization studies, where elegance  and harmony change into a secret and inner music. He exalts the conceptual value of form in oil-paintings, which are produced with  analytical clearness and constructive ability and he looks for a form and content adaptation in colour rhythm and  in the syntax of the sketches.

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 Oil, charcoal and china ink are the techniques that the artist prefers and masters with great skill and originality in artistical creations.The meaning of drawing is awfully valuable and its stylistic perfection follow close the most new currents of modern expressiveness, which his however rewrote with very personal and intimitate taste and purposes. So the polyedrìc aspect and the plurality of reality are decomposed into an higthly psychic interpretation, which aims at disclosing its most secret interiority. In artist’s paintings there is not space for fashionable and manneristic attitudes, but everything is entrusted to a visualization of the matter, which is proposed with efficacious and linear marks in their simbology. The chromatic perception is not only quite conformed to the thematic expressiveness of the single works, but it intervenes in an autonomous way in the creative process, offering a thickness of expositive concreteness through the “ impasto” and the choice of the optical effect. In this sense, every painting positively feels the effects of the atmosphere of experimental search, where the artist is committed: the result is an art, which is always in tension and in motion with itself and with the surrounding reality, like a true evidence of aesthetic anxiety of the contemporary creativeness

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In artisti’s life there is always a continuous evolution, an interrupted ( ripening  and woe if it is not like this), so the pictorial matter develops in syntony with life reality and with the always new models of man behaviours, which are definite from imminent events, that distinguish our existence. The same has been for Bonnie-Kent, when, 1969, he began to express himself using pencil and paint-brushes. He obviously did I taking, advantage of the clearest and immediate language, which was easy to understand by anybody, and that is the figurative language. Then the time modified many things on the outside with identical incidence in Bonnie-Kent’s heart, who acquired little by little, a new  way of expression with certainty and sincerity. We do not want to condemn or to forget Bonnie-Kent’s previous production. On the contrary, we consider it still valid, but in comparison, you discover the artist creative anxiety, his anguishes, his joys, his inner torments. So that you notice the whirling of sentimental tension in that new statement to which he devotes his best attention and it is not certainly devoid of emotional stimulus in its geometry. In figurative climate Bonnie-Kent was able to   create an atmosphere of convincing communicativeness also in that dynamics of chromatism maintained on dark tones by transcending illustration and by impregnating every painting with quivers of his personality. You noticed the latent reflex of a  different and very definite geometry already in those  works (we intend oil-painting), which has cleared up and asserted itself arriving at his complete realization. The new dimension of the painter from Romagna fits in a nearly conceptual way of seeing the essence of things and however it does not mean abstraction from feelings, from his sensitiveness or exasperated obscurity, but it realizes in every work, a frenetic world of passions, perceptions, dreams and sensibility, It is certain that the subject must be discovered, localized in those geometric compositions, sought and understood, so abstract  becomes reality for the complete delight of that communicativeness, that  always you want to find in the message that an artist want, but speciality, must give.We spoke about geometry in Bonnie-Kent’s works, but with delicate lines, which must always assign significance and content to the creative impulse and emphasize the  subject in its spaciousness, in which it lives as in oneiric space, where material formation appear illusive. If you find positive elements in mark, they are also in colour, which is always well invented, well co-ordinate with language and tales purposes.The chromatic brightness does not indulge in exasperated enthusiasms in its total exposition and it keeps on rhythmic models of real freshness, proposing in a perfect and aesthetic balance. So Bonnie-Kent’s artistic expression develops on a pentagram of pleasant and powerful musicslity.

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1986

Paul Bonnie-Kent is a careful, stylistically well-prepared painter and designer and each of his works is a form of communication, a message of expressive and well drown coherence. Observing these works by Bonnie-Kent presented in this interesting exhibition the held by the European Center of Cultural Initiatives of Rome here at Exhibition Gallery of the City Hall of Hong Kong. We can say that   he accepts life and all the things that form part of our daily life but that he does not accept it when life is conditioned by predeterminated schemes. His position is not rebellion,or polemic, but just a refusal. He refuses the current artistic formula, traditional painting and drawing. He choses to be alone and to conduct his pictorial discourse in the same way that he considers himself a small fragment  of that humanity that involves him. Through these works we can realize that the anguish of every day can in a certain way be masked  by beauty, although this beauty will not survive to tomorrow when it will have to be recreated, but in the meantime it gives us the  force to bear the suffering of every day life. In this way he carefully and with simplicity  and pureness of content elaborates his personal artistic discourse revealing a well marked temperament. The mastery of the drawing allows him to achieve that contained elegance that passes directly to the spectator with the force of expression. The works by Paul Bonnie- Kent we have analyzed occupy a well-deserved place in this nice exhibition.

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2003

Synthetic forms, arranged in original groupings, emerge from the geometric patterns that Bonnie-Kent elaborates in his works, melting together rationalism and symbolism physical vision and ideal perceptions in an interpretation of reality beyond its phenomenal dimension. Paintings with depth that amplify the conceptualization thru an animated graphic dialogue,rendering the images expressive thru the vibrancy of the color patterns.

Paul Bonnie-Kent, the artist, is an original contemporary figure whose abstract art can be defined as metaphysical, in the sense of expressing the desire to escape the rigid physical reality, but at the same time not wanting to end up in dreamy transformations, or worse yet, in the usual metaphysics, since the primary statement in his existence as a man and as an artist, is that in which the form must be considered in it’s development, in the quality with which it comes into being, that is conditional not upon the way it develops but upon its  spatial-temporal placement. It’s form is dynamic evolution in space, it’s not exact, it’s not defined in its temporal being, but rather as a spiritual essence that  is dynamically active in all of its possible qualities, but yet cannot be described as a necessity of realism but it’s the realism that ensues in harmony with the circumstances. And the form lets itself be sculpted, a dynamic creative surrealism, in the spatial perspective of an intricate labyrinth, in all of it’s beauty and expressiveness, to such a point that all of its elements in all of their representations, are nothing else but a  harmonious coming into being that is captured by the artist in its essence and in its process of formation, while the form is already mutating, evolving into another of its forms and expressions that contain the consequential actuality as well as the dynamic transformative intimate reason. In synthesis, nothing is static, everything is a dynamic realization, in that the mind, while capturing one aspect, feels the anguish of its own limited intuition, because all of reality, even though it may appear static, is intimately the reason underlying an evolutionary dynamic harmony. It is the statement made by the man-artist, of everything conventional, of all habitual forms of thinking and creativity that limits the intimate understanding of the whole and of the harmonious relationship between “I”, as a precise entity, and the universe. In synthesis, stating that every aspect of reality, even within its own subjective originality, is a consequence of a complete group of entities that have determined that reality, but at the same time are part of another and more complex originality, which, while it appears it is already something else. It is a procedure followed by the artist that while questioning the fallacious certainty of reality, he forces reason to open itself towards wider horizons, in order to capture, in a more complex and dynamic formal perspective, that single reason which is the propelling force and end of a dynamic, harmonious evolution, in which nothing else is represented but the being of the absolute spirit.