Born in Dolo (Ve) in 1964, the artist currently lives and works in Mestre. After interrupting his University studies, Baldan approaches to art to give voice and identities to primordial needs hardly communicable, except through sign, color and form language. Arturo Baldan’s search moves along a line of consistency through well-defined points in the history of contemporary art ( into the scope of the general predominance emerge conceptual minimalist contributions, optical shots and kinetic allusiveness), keeping alive the declaration of belonging to an inner world, moved by numerous cultural upheavals. The Gestalt derivation is read in the ability of the work to involve the viewer in an interactive relationship, so the viewer is sometimes caught in a virtual continuation of the work, able to take multiples directions of sense. Therefore Baldan creates the conditions for a rational movement that from the apparent coldness of the work each times lands to surprising news. The artist achieves this by fusing together the tensions of painting and sculpture in a synthesis which then becomes assonant with the installation. The meticulous construction makes the finished work a kind of mechanism, where the serial nature of the constituent elements, produces a fine iconic translation of reality of digital communication today: as if the pixels of television images would quantify its essence coming out of their formal flatness and would assume three-dimensional dignity, while in the stylized shape of box or other mass-produced geometric shape. Each of these is covered by Baldan with cotton canvas and painted giving the operation a symbolic value. The preparation involves every single component, which is then assembled into a complex, fisical reality (the wall) and metaphor of a typically human stress to construct the structure of the existence with “bricks” of daily affairs, which then flow from the personal experience in the collective history, from the particular to the universal, from the portion to the whole. And from one work to another (each one having an independent and a specific meaning) there is a conceptual rebound that puts them all in a potential relation. For this reason Baldan’s work, which sometimes takes the visual determination of a physiognomic silhouette, contains the whole fragrance of a humanism that drinks deeply about momentum towards knowledge and often through the polychromatic evidence of the playful attitude, without detracting anything to he depth of reflection.