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P.B.Kent    
Italian  Painter     Paul  Bonnie Kent
     
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THEY WROTE ABOUT HIM
A.Scalini. - D.Conenna - E. Cecchini
E.Cristiano - G. Massarelli - G.P.Palino.
M.Donini - S.Perdicaro - S. Coccia
M.T.Corleto - P.Parma - T.Ho Kit - V.Tortorelli
 
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1985
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.
M.T.C.
 
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 welldrown 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 im. 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.
T.H.K.
 
1988
In the paintings of Paul Bonnie Kent, sign light and color come together through a game of compositions resulting in images of life, of inexhaustible energy, which suck the viewer into a vortex of passion and passionate colours. And while the puzzle is made, the figures mentioned emerge in their full beauty.
E.C.
 
1988
His painting has undergone a development logical and necessary (in the works examined by us covering the two decades (1969 1989), from figurative to abstract issues of movement, creating a personal readability other unforeseen and unforeseeable by visual matches played through feelings rather than through objects or persons. Here as in the recent works of the painter of Cattolica, the ancient the ancient mediation graphics and color is added to the more direct and conscious transmission of psychological problems. And 'undoubtedly a breakthrough in anti-romantic sense mystical if we would and Paul Bonnie-Kent binds everything that can be linked to return meaning to life, seeks the summary, the revival of an emblem, a balance within which to sweep the net definition linear and significant relationships that exist between one and the other colour.
P.P.
 
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 colour patterns.
S.P.
 
2004
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 its 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. Its form is dynamic evolution in space, its not exact, its 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 its 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 its 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.
S.C.
 
2006
It is not an artist who continues to be but stops and starts. Has the strength to go inside. Axiom marking his 'life, and the works' understanding that the geometric approach albeit with great appeal to ahistorical of the twentieth centuryof Veronese and Dadice?...Romagnolo pure deep observer of unreality. He had the moral courage to resume canvases and brushes and reopen with the Goddess Art.  And is quite ... ... .....Depending on who writes here, the most eclectic, eccentric, operator today. In 2006 "born again" (or so it seems) recovers not the sweaty cards, drawings yellowed old  paintings ever brought to light and tries to find the center of gravity permanent expressive figuration alternate abstract to the surreal. The Bonnie knows that to be original, eclectic, eccentric today is to express a specific gravity higher cultural
D.C.
 
2009
In the paintings of Paul Bonnie Kent, sign light and colour come together through a game of compositions resulting in images of life, of inexhaustible energy, which suck the viewer into a vortex of passion and passionate colors. And while the puzzle is made, the figures mentioned emerge in their full beauty.
E.C.