Paolo Baruffaldi, peintre-graveur, received a degree in Philosophy from the University of Venice Ca’ Foscari in 1975. It was at this time that he began his first experiments with Graphic Art with Licata, Sanchini and Goetz. In 1982 and 1983 he took part in Incontri Internazionali “Anacapri: questioni delle Arti”, organized by the city of Anacapri and co-ordinated by Gillo Dorfles. Here his work began to take on a more pictorial nature, working with Enrico Baj and Joe Tilson. In 1983 he exhibited a body of work entitled “Carnevale a Venezia” at the George Pompidou Center in Paris. In the same year he began a project entitled “Venezia Capitale” of which he has developed three phases so far: La Mala Pianta, cement, canvas and plexiglass (1983), Amanti, rilievi, wood outline (1984), and Il Gran Narciso, paper and canvas (1986).
In 1988 he dealt with two innovative subjects: Made in Italy, an ironic title was given to introduce a corpus of engravings inspired by articles of clothing, and La Natura Morta, the artist chose a technique using “Carborundum” to execute this piece. Both of these works use large-sized plates and have been pulled a limited number of times, from the first and unique edition to the eleventh.
In the early 90s he began a series of thematic exhibitions which have proven to be extremely meaningful and representative of his creative and artistic development.
Baruffaldi’s new exhibitions and artistic initiatives are based on the following themes:
Terra di Siena, acquatin and carborundum;
Le Réveil, a collection of color engravings;
Ostentatio Imaginis, portraits elaborated with computer graphics;
Carnevale profano, etching, aquatint and “vernice molle”;
Codice 48, carborundum;
Matinée, aquatint sequel to Le Réveil.
Since 2000, Baruffaldi has divided into three parts his work : “HANS” Angeli – Nature – Sritture.
Angeli. The figure of an angel, in the profane sense, first appeared in his exposition entitled “Le Réveil 2000” and was soon to become a genre in its own right giving rise to miniature works (etchings, acquaints and soft waxes) and experimental graphic creations and monotypes on a large scale making use of gold leaf.
Nature. The term “ still life” is both misleading and limiting in this case as it has little to do with the classic, conventional concept of still life. Alongside those typical objects such as fruit or a vase of flowers we find items of clothing and objects of everyday use (eg. the Moka coffee pot) making use of the “Goetz” experimental technique.
Scritture. Baruffaldi’s sign-symbol-signature made its first appearance during the seventies but then withdrew into the realms of his more private works of interior dialogue. It reappeared like a karstic river emerging unexpectedly from its long underground course in the exposition “in illo tempore” of 2001