IMG Guido Coletti ...Then he worked with adhesive tapes for “PAESAGGI ORGANIZZATI” and, at the same time, with PVC for “AC-CETTATI CON ONERE” (1974). Then the artist created “SUNSETS” (1974-75).
From 1975 to 1977 “PAROLE INUTILI”. While from 1977 to 1980 “TERRE BRUCIATE” that was born from the tension of incompatible materials (like incompatible is the existential reality).
“SE-DIAMO” is a study of the Kafka’s metaphor about the places where we sit. It is about chairs full of stories with a personal technique.
“UNA LACRIMA DI GHIACCIO” is a book of poetry and long journeys in Orient.
In 1998 he worked with the “golden leaf” that covered all like an extreme sign of a statistic culture: this was the period of “ORO PARADIGMA E METAFORA ALLE SOGLIE DEL TERZO MILLENNIO”.
He currently works with gun-powder. The series, called “CON-DOMINIO”, is the development of paintings already done in 1975 as studies. The artist uses this material that determined the first contamination of the contemporary age. The master uses coal, sulphur, saltpetre, on already painted canvas, to better show off a philosophical configuration about the pre-existing.
The gun-powder, - that was discovered in China where it was used, in primis, as a cosmetic – demonstrates all its “aesthetical – contaminating” ability through burns and violence that show total socio-cultural changes.
From the definition of contemporary age (1492) entire civilizations disappeared under its tragic sign that models everything and the “owners” of this material have always been upset by the existence (also if this material is used alone) and by dramatic leaders.
At first sight, the events provoked by the gun-powder are constantly proposed through more and more accelerated reiterations that empty each drama of meaning and sign.
All is sent again to an infinite drift of chat full of rhetoric, and, all this, naturally, in comfortable armchairs that are located, carefully far from the development of drama…what a comfort!
The artist says: “Elias Canetti was right in telling that pain is felt only by those persons that touch it directly”.
So, the conquest of the conscience is not a questioning but a dimension. The dimension needs concreteness of action, of shape, of gestures because defines the essence of things.
The dimension presents itself and shows itself and its reality. To show something is not the same to represent something.
The artist means all this with his works, given that he wants to call the reality where we live in an indifferent way and, above all, where we involve tragically our future.
With a high probability, there will be facts that will never occupy spaces like those of a picture that shows something that, unfortunately, will belong to an area without response.
Now his paintings impose to watch inside, to investigate among burns, because, like this, they will be more internal and more intimate.
The purpose is to go into the inner part of things, to look again for them, both like place both like spiritual topos.
All this to appropriate a new but also old ethics.

(G. Otto Bruc 2001)