There are creative abilities that are born within us, but due to a series of life contingencies they are revealed only at an older age.
At the end of the day, as Joseph Beuys said, if we are all artists, it is just a matter of being able to ignite the right spark to bring out that thicket of skills mixed with emotions that each person carries in his or her unconscious.
And to find the right time to do it.
This mechanism is candidly reflected in the experience of Gianluca Limonta, aka Gianblu, born in Lecco, Italy, on October 26, 1968, the moment he decided to devote himself even more firmly to the sacred fire of art, letting himself go to instinctive and provocative “artist’s licenses.”
Including the whimsical initiative of painting his beard blue, because being an artist is also about form and freedom of being.
Since February 2022 he has moved and lives with his partner Daianne in Gordevio, Ticino, where he has set up his new workshop and started new processes of artistic research, also collaborating with local businesses, public and private institutions.
Drawing on the Latin etymology of the word “art” (ars: skill, talent, technique) Gianblu likes to call himself an “artisan artist,” where the skill of making and the creative genius merge, mingle and materialize in what the artist calls “art for all.”
In each of his works he challenges the viewer, brings him inside a process of learning and thus change that takes place through observation, sensation and ultimately action.
That’s why he doesn’t like to identify with one artistic current; he goes through a few.
But the deep and complex meaning of his works is the attempt to overcome the separation between observation and thought on the one hand, and, sensation and action on the other.
Here is the need to explore the most diverse materials and concretize their juxtaposition in his works.
This deep artistic intent led him to the creation of the 3.16-meter-high “Box,” the bronze “Hominid,” and the “Frames” in the woods, suspended between heaven and earth.
These explicit messages, actually circumstantial, underlie others whose meaning is manifested in the moment of the union between reality and form.
In his quote, “If you live a dream, don’t sit down,” also represented by a series of unstable, rickety, or even burned chairs, there is no hidden meaning to look for, but an explicit meaning, which is that of taking action, pushing beyond the “comfort zone” in which we are dropped into in everyday reality.
Not wanting to have an obligation of recognition for technique or materials, but considering himself a free experimenter and researcher in art, Gianblu added a circle to his signature, a symbol of perfection, research and of infinity.
Here, then, is the significance of the circle next to the signature, Gianblu’s unmistakable hallmark.