In Guido's Studio

“I understood this key dimension of Molinari’s painting, said to be cerebral, systemic, etc., when I visited the sort of wardrobe where he prepared his colours. It was like being at the center of the earth, in the middle of molten magma. Color was everywhere: on the walls, on the floor, on the ceiling, on his shoes, on his clothes… I was the antithesis of the laboratory that some artists’ studios resemble, with their tubes of color and brushes in a flower vase. What was going on here had little to do with science or medicine. It was more like a carpenter’s bench, a forge, a painter’s studio… but a house painter’s studio. Was there an old proletarian background in Molinari, which would also explain his attraction to the working-class neighborhood where he had settled?” – François-Marc Gagnon, 2006