"Most Nobel and Wondrous Inventor of Fantastical and Bizzarre Things"

Luca Beatrice

I would describe Goldschmiedt as an abstracted and distracted man. When you talk to him you never know whether he is listening to you and following you, or absent and lost among images and ghosts that transport him to a magical world of his own. He is capable of drawing his inspiration for a work or for a dazzling title with which to seal one of his inventions from a phrase that he does not even seem to catch. As a young man he appears, as he himself admits, to have been instinctive, full-blooded and impulsive, somewhat reckless and a little aggressive. His wife Marina had the task of smoothing out the angular aspects of his character to make him more yielding and accommodating. Over the years his rather tough hide has wisely softened. The man has increasingly liberated himself from the artist and has acquired a greater awareness of control and interaction, aided by a singular vein of humour and irony and a taste for the paradoxical. These characteristics are obviously reflected in his artistic choices, and his flaunted attitude of apparent lack of commitment has made him prefer ludic themes, inspired by history, literature and legend, without forgetting the attentive observation of social phenomena.

 

His commitment to and participation in the dramas of humanity, on the other hand, seem to appear less intense with the exception of the Attentat series. His basically egocentric behaviour, which nonetheless does not prevent him from willingly accepting comments and suggestions, has led him to pay little attention to the artistic currents that surround him.
While this may represent a limitation in terms of knowledge and participation, on the one hand, on the other it assures him independence and creative freedom without owing anything to others. This explains why – although the roots of a man’s soul must always grow out of the humus of the traditions of his land – his painting is not influenced by either Slavic cultures or the multifarious expressions of Italian painting. This apparent detachment is, and always has been, associated with an unforeseeable mathematical rigour and a deep sense of professionalism, the almost obsessive need for perfection and the tireless quest for new procedures and unknown formulas. This explains his ability to shut himself in his workshop like a “sorcerer’s apprentice” for a solid twelve hours a day, alone with himself and his visions that transform his works into reality.
(Flavio Guenzi)

© 2015 by Michael Goldschmiedt