Our blog aims at letting you know more about the news of Gianmaria Bonà. We address the collectors and those who love art and also want to experience the precious moments in which the works are created, such as the forging of the sculpture-premium made for the Autodromo di Monza. By appointment you can visit the atelier of Gianmaria Bonà in Santa Maria Hoè, when the artist is in the creative phase, asking to observe him while he realizes a work.



Here you will also find the dates of the exhibitions, so as not to lose the vernissage in Milan art galleries.

The artist had already experimented the approach to modulating and structural themes as a basis opposing formal articulations. They aim to hold the viewer’s hand and put him in a more critical system of vision, letting him judge every work for what it really is: a show set up not for the eye but for the mind.

In this way Gianmaria Bonà follows one of the different possible ways of challenging contemporary-merceological art, in its disparate ramifications.
It is at this moment that his path marks what could appear as a reversal of course, which is the passage from a critical denial to a poetic construction and a positive idea.

In that space detoxified by epidermal presences and accumulations of passively received thoughts, he has been placing organized signs both in relation to his own internal laws of self-regulation and to extraordinary lyrical-psychological suggestions. These aspects are connected to a line of inquiry in the emotional and the background pre-conscious sphere, for a perfect evocation of an abstract reality.

Therefore, all the formal criticisms of the previous phase are now used to construct unreal personal facts that are compromised with the moods and ideas of the artist himself as a man.


The informal is above all the methodological key to a self-investigation that allows him to use creativity as a specific means to access the unconscious and make his most hidden self-re-emerge. Executing completely abstract forms and without any relevance to the knowable means knowing how to free oneself from the naturalistic limits of representation, to privilege the chromatic game and, above all, the interpretative freedom of states of mind. Associating and imposing himself to the gaze without conceptual or theoretical mediation, the visual effects of his works correspond to the very substance of his instinctive relationship with the materiality of the painting’s spirit.

The themes of elsewhere are represented by the tonal vibrations of the acids’ colours, by the chromatic lamentations and by the liquid waterfalls on the gold-coloured surface of the support; they all represent the poetic part of Gianmaria Bonà. In their swarming underlined by the tender and spiritual quality, at the same time acidulous of the colour, these works deserve a careful reading. Precisely because they reject the communicative ease of the artistic languages in use today; the suggestions need an adequate reading time that they oppose to cultural consumerism.
Polemics and why not? There is really no fear of this word, these works summon the user to an act that is as critical as that of previous research, but that nevertheless propose a more direct involvement. I am thinking, for example, of how well he has been able to represent the field of painting in the works examined today, eliminating its typical well-founded colour shades, but focusing on a widespread, refined and polite endemic pictorial spirituality, which develops and contributes to carrying out cultural itineraries articulated by avant-garde experiments.

Gianmaria Bonà is fully acknowledged as a tenacious artist in his beautiful Brianza and I do not think that this is a small result. We hope that, precisely on the occasion of this exhibition, he will receive a magniloquent praise from critics and the discerning public.

Lorenzo Bonini,

art critic, curator, journalist, court consultant


The editorial director, journalist and politician Angelo Baiguini writes about the new artistic period of Bonà:
Gianmaria Bonà returns and surprises. Once again the artist from Brianza continues his tortuous search, made of stubbornness and courage. He does so by going beyond. His approach is a physical "going beyond", which goes beyond the art’s boundaries as we have understood it until today. His new works, in fact, go beyond the borders of the "canvas" to involve the frame as well, demonstrating how the traditional space, now goes close to the artist from Brianza.

The work is therefore born and developed together with its support, which becomes an essential accessory.
It is a real demonstration of Bonà's need to occupy new spaces, going beyond the "simple" work of art.
The artist also uses new techniques and materials to experiment with new horizons, where the "canvas" as we imagine it, gives way to metal, a noble material that hardly welcomes the imprinting of the hand of the artist.
And it is for this reason that Gianmaria Bonà entrusts the "acids" with the task of giving a soul to the cold metal surface. She leaves to the "base" and to the "colour" the freedom to find the right balance, through exclusive and unprecedented forms and images. Even this, which would already be enough to testify to the courage of an extreme search, does not fully satisfy the artist, who feels the need to bring out a strong "sign".
He still uses metal in its most liquid version, in order to create forms that mark the work.

What characterizes his work is the need to escape, which often refers to an external object, indissolubly linked with its forms to the central work.
Bonà’s works propagate from the "canvas" to the frame and then look for a meeting point extreme, but at the same time tied through the forms, like an invisible umbilical cord that unites the mother with its creature.
It is clear that Gianmaria Bonà has embarked on a new path, a path of which today he himself struggles to glimpse the point of arrival. A path that is, however, already written in the form of a fire on his artistic vein.

Angelo Baiguini,

Editor-in-Chief, journalist and politician