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1985 |
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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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M.T.C. |
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1986 |
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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. |
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T.H.K. |
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1988 |
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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. |
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E.C. |
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1988 |
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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. |
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P.P. |
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2003 |
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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. |
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S.P. |
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2004 |
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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. |
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S.C. |
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2006 |
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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 |
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D.C. |
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2009 |
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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. |
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