A spontaneous and genuine painter, who avails
himself of a well-done treatmentofthe 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 alittle 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.
V.
TORTORELLI 1972
Bonnie-Kent
is a spontaneous, instinctive and very sensitive painter.In all his
works, he which always leads to good result, he avails himself
of a technique in which the chromatic and structural treatment
is never excessive.His treatment is not exaggerated as those of many
other painters used to be, but it’s in tune with coherent and indispensably form’s exigencies, which are the characteristic art
marks. We have followed him in these last years, andwe have seen him tremble of emotion every time he has launched
to propose a new speech, a new interpretation of a life’s image,
of his feeling as a man and as an artist, deeply upset in the
growing confusion of every day’s life. But Bonnie-Kent has always
continued the beauty of images, in technical perfection, because of
his vigorous will, his artist feeling which gives him new energies
and alluring hopes in the very difficult field of figurative art.
Seen from an aesthetic point of view, the young painter has succeded
in very little time to master from amalgama ofform
and content, that is the most delicate moment of the artistic creation.
He succeeded in presenting valid works under this aspect.
V. TORTORELLI 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.
S. PERDICARO 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.
G. MASSARELLI 1983
Bonnie-Kent
is an artist gifted with great sensitiveness and with a marked
sense ofobservation. His works witness a keen, participating and vital
interest incom-parisonwith 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 showup,
in the light of psycho-
analytic perception,the
pureconceit,the idea
of notion acquired from the experience ofthe empiric ego.Paint,charcoal and china ink clarify in their creative breadth,the need of search of thisartist.The works realized with charcoal
symbolize the rev-erse of the medal ofBonnie-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 per-ception
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”, wheresensitiveness
and rationality are present in the same proportion.
G.
P. PAOLINO 1983
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 isBonnie-Kent Paul, Born
in Cattolica present in several artistic dictionaries andencyclopedias
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 rightand have brought his name trough review of art,
in variousEuropeanCapitals
and inthe 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 theradius of the figures: in the development of hiseelings and emotions. Inhis“
intus”
alla cosmos is lighted in the spring of thoughts, of concepts,
bound to a primigenialemotional impetus,searching
into the nucleus of imagination, the sharp net offeeling. He’susually
very sensible to bea-uty, and he’s
projected in an aesthetic research, which can point out. I the
light of the psychoanalyticalperception
the pureconcept, the“
idea ”
ofknowledge acquiredfrom
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 studyof 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 offigurative
elements, which carrying out an expression ofform,
can promote in thesubstantialprehensive psychicperception
to understand them in the revelation of their aesthetic value,
createsthe ideal
condition for a critical medal of Bonnie-Kent, showing the bottom
of ourartist,
drawing a parallel between“lives and fantastic”between“ reality andillusion”;he
defines these creations “ illusions”; in fact in art-philosophy
subjectivismand illusionism go together. The artist moves from the
notion of objectivenes stoobjectify the figure ofwoman in an abstract form, isolating from her physical
essence.
From this separation an appearance an illusion come out and she is
intimately boundto the perception of the creative ego, in comparison
with acquired.Notion,
which thesubject has already known by experience.The series of illusions“
women in profile,
meeting”
etc.
are forms and sentiments objectified,intuited in the space of an illusion,
like something of ultra-images with specific aestheticcharacteristics;something that gives spiritual delight stimulating in the
subject theaestheticfeeling
ofrhythm,
of harmony, of grace; disclosed like essentialqualities of the object
,realized in a contemplative perception.We can define
Bonnie-Kent’s works “studies” of esthetic criticism where
sensibility andrationality partecipate both in the same measure.
G.P.PAOLINO
1983
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
duringthe pastyears
and, with a more intense passion, he is carrying on the present
year, Ihave given all my enthusiastic approval and I feel honored
to pointing it out with thiswriting. Guttuso, Annigoni, Vespignani, Dova,
Quasimodo, Ungaretti,etc,
do not need introduction
in conformity with personal value. I wanted to point out this
artist, for hiscomplete 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 anda milestone
in this intricated world he belong to with full and sacred right.
A.
SCALINI1985
He
is a refined lover of the form “the
nakedness represents one ofthe
cardinal points of his art”and
he learnedly knows how to take advantage ofhis
pictorial gifts proposing
us figures with remarkable aesthetic and lyric power. We have
admired him as a tirelesssearcherafter
artistic expression inhis“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, whois 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
meaningof abstractionism,
which is understood as a study projection ofthe
conceptual
analysis
of art form and expressive authenticity, in pursuit of
interpretative means of plasticlanguage and still connected form
with a literary
meaning, which became the impulseof intellectual activity beyond the concept of sensorial limit
and form of pure abstractconception.
Inevery 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 compositivecompages
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,
areinteresting. 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 fora form and content
adaptation in colour rhythm and in the syntax of the sketches.
G.
P. PAOLINO 1985
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 perfectionfollow
close themost new currents of modernexpressiveness, which his however rewrote
with very personal and intimitate taste and purposes. So the polyedrìc aspect and the plurality of reality are decomposed into anhigthly 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.
M.
T. CORLETO1985
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 arealso 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.
M. DONINI
1985
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 Galleryof
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 heconsiders himself a small fragmentof
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 ofevery 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 ofthe
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.
T.
HO KIT 1986
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
S.
PERDICARO 2003
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.
