On the poets' side | 2000 - present
With the beginning of the 2000s, Gini abandoned the ‘Journey in the Sky’ cycle to more clearly recover that sense of the everyday that has always been the basis of his work.
He tackles the problem of writing and the relationship with the image from an interactive point of view. The large alphabet, repeatedly declined in different shapes and sizes (Alphabet of letters, Alphabet of Colors, Alphabet of shapes) becomes the protagonist of his work.
Writing presents itself as an absolute entity in the dual guise of signifier and signified.
The cornerstone of this period is the relationship with the newspaper: Omaggio ai Poeti, Homepage, Pagine del Quotidiano, Arte per Caso are some aspects of this intense relationship. Writing therefore rises as a moment of reflection around itself.
In the same years a complex cycle of small works was born, almost a domestic job, variously titled: Paths of writing, Writing in a frame, Tools of work, Tribute to visual poetry, a Word a day, in the shadow of writing, Loose pages , Work’s instruments.
In this recent production, occasional fragments of letters, envelopes, stamps, various papers, calendars, feathers, fountain pens and more become the main players.
Anabasis of the newspaper.
The images and the active participation of writing are composed on a single reading plane where each element integrates with the other without any priority value of one over the other.
Writings, Pages, Paths of Writing, Writing in a frame, Work’s instruments, On the poets’ side are some of the titles of works, generally of small format, which investigate the various processes and expressive possibilities of writing across the board.
Free, autonomous, self-signifying works where speech and writing move in total freedom.
A rereading around writing and its expressive and communicative possibilities. A return to order where gesture, sign and thought meet without problems of priority in a poietic unicum. The principle of the participation of the hand/mind as a central element is affirmed, and at the same time the breath of the painting is still felt