Even though Mauro Bini comes from the  Gruppo Nuova Corrente (“New Current” Group) entourage, he never actually joined the Group. He supported the Group’s ideological assumptions in the antithesis spirit towards the neorealism of those times as well as the Group’s aspirations which later revealed themselves sort of a little utopian.

At the beginning of the 60’s he commits himself to large figurative paintings pervaded with severe sadness, to dark and obsessing interiors  (1966 to 69), and to huge and bewildering spatial extentions.

As far as  Bini and also other artists of his generation are concerned, all this (beyond cultural references, if any) remains a period of great enthusiasm and highly instructive and leads Mauro Bini already as from the early 70’s to take again from the beginning  the problems’ bond related to the language of artistic specificness in order to solve them in accordance with his personal and secluded formulations.

This way he grows away from illustration of reality to come close a sort  of abstraction that, even if farther from the inspiration source, remains anyway pervaded by a general sense of objectiveness.

Because nevertheless the refusal, moreover never completely consumed towards the phenomenological world, since those years,  the change in Bini is related to the way to approach painting. The author turns more and more to investigate, making at the same time clear the internal process of “arts making”: the identification of a language intrinsic to material which is now faced with mathematical-implications - “Successione Modulare” (Modular Succession) 1973/74-, then sign/geometrical- “Struttura in Espansione” (Expanding Structure) - , 1985/89, and then again close to a process that we will call of detraction – “Dinamica Formale” (Formal Dynamics) 1974/75 - .

Slowly but undoubtedly, this research of primary structures has formed within Mauro Bini a precise lexicon, with rules and idiomatic expressions: amongst the first ones appear the conquest of  the third dimension and the acquisition of an assured spatiality both reproduced and dilated also thanks to the repetition of forms and signs. In the latter, they materialize especially due to the use of whites – which compensate the works’ dimensions that in the meantime became more moderate – as well as the movement springing out from the presence of traversal lines, though sometimes interrupted.

But we may also verify that the bearing element of Bini’s painting and consequent research is just the language as shown by his repetitions – in the same work itself or in a series of works – of alike or similar forms, experiences close to what did a certain Optical, or amongst other Enrico Castellani in Italy, then strikingly reproposed  at the end of the 70’s in the Padiglione greco (Greek Pavillon) at the Biennale of Venice. In out author there is a need to rule the world, to find its intimate structure, to start from the “module” and reconstruct until “virtual forms” are almost reached, following a process that is constructive even if not constructivist, developped according to concepts but not “conceptual”, structured and not  “structuralist” though.

Florence, June, 1990.