An internationally recognized artist, Bonifacho has a consistent presence
in North American commercial galleries and non-profit galleries and museums.
His work is in major corporate collections, museums and private collections
internationaly. His work expresses a tremendous vitality and love of intense
Bonifacho’s new series explores these tensions
between the logical, linear scripting of virus programs and their capacity
for destruction. In the simplest terms, he imitates the effects of computer
viruses and worms by scrambling letters and messages in his large-scale
oil paintings. His work carries the elegance of programming code. It also
indicates the deep layers of chaos and confusion caused by viruses.
Talking about the intentions of his art practice, Bonifacho says:
I communicate and express essentially non-verbal thoughts
and emotions abstractly, within the discipline of formalism - through
colour and shape, gesture and surface. I work in the standard oil medium,
applying it to large squares and rectangles of prepared canvas. Sometimes
I use encaustic for its particular luminosity and tactility; occasionally
I do shaped canvases, or mixed media constructions. As a relief from the
intensity of prismatic colour, I periodically explore the singular qualities
of geometry, surface, gesture and sgraffito, in metallic paints. Such
decisions occur within the context of extended serial planning.
The source of my art is the comprehension and channelling
of strong emotions stemming from observation, current events or epiphanic
memory: thoughts of environmental devastation; or blatant injustice; or
peak moments of optimism and ecstacy. I see subjective awareness as the
fuel of creative fire, and for a sustained body of work the emotive energy
must be profound. I ride these obsessive crests like a surfer, until they
subside in my consciousness. One cannot artificially rehearse, buy or
borrow this energy, which is one reason I cannot subscribe to popular
generational or interest group issues of the day.
Aside from the technical facility of my work, an aspect
in which I have confidence, the viewing of it by another person can be
only formal and subjective - the emotion that drives me may be experienced
by another as only a residue, the cooled lava of a molten flow. Dylan
Thomas, a writer, referred conceptually to this emotion as "the force
that through the green fuse drives the flower."
Because my work is couched in formal terms, it may concomitantly stand
or fall under formal critical scrutiny. Its critical mass, however, the
flares and phantoms of my internal sensibilities, are unassailable. These
emotions are the glue in the interstices that hold together the elements