ART SHAKE II - ARTISTS IN THE EXHIBITION
(from catalog):
108
Black forms capture the observer restlessness of what remains mysterious and not revealed, but growing, formless, has in itself all forms of imagination and makes every attempt to shreds for identification, assignment of a pre-made form of if nso finished.
black shapes that emerge from the 'unconscious clinging to the walls of the city, spread on the canvas with the charming and charismatic, enigmatic charge a mystery of which are archaic signs, produced by the ego is not conditioned by the conscious part, the ratio.
108, the name of the artist, is a number full of mystical and esoteric symbolism, which releases the drives free from any equity, globalization, condition of thought and creativity, listening and communication. The information is being in power, the essence beyond form, beyond convention, which is not subject to the manipulation of the "secret police of the subconscious." E 'unchecked power and therefore occult, which is linked to Neolithic beliefs to find the old links with entities impalpbili, the only catharsis of a world that idolizes the violent and capitalizes on the material and its spiritual side.
(Emanuela De Notariis)
Silvia Argiolas
Inside tales painted dreamy girls have echoes of a nightmare in her hair and her arms branches of anxiety. They inhabit forests and woodlands, stretching claws for protection and a color that blend to be soft and transparent form, ready to provide sweetness. The appearance, however, gives no certainty that there is violence and pain, nor that transparency is not in (d) izio of a death.
The dance age suspended in eternal childhood, from graceful becomes untenable, the romantic melancholy of struggenza not belong to this reality, always about to lie on the places fabulistici artist, with a wonderful unease.
(Emanuela De Notariis)
Franco Brambilla
La science fiction invade scenari retrò, con ufo atterrati in paesaggi (terrestri) da cartoline vecchio stile, quelle che spesso giacciono nei cassetti delle case dei nonni. L’artista vi inserisce alieni impegnati nelle più svariate attività, sullo sfondo di amene località montane o marittime, o mentre con la naturalezza di un qualsiasi turista abituale siedono nella hall di un hotel, inscenando uno spaccato di vita di un possibile futuro con incontri di diplomatici interplanetari, in contrasto con gli arredi dell’albergo anni ’60: golden years for fans of Retrofuturo.
The irony is the trait d'union of each work and form a thin membrane that connects the real and imaginary, playing on the paradox between absurd and customary stereotyped: that, indeed, postcard. By adding a taste for vintage imagery from b-movies, equipped with all the tools of the future seen from the past into the present.
All eyes to heaven, then expect to see a shiny glistening tentacles drawn in the square view of the village of their grandparents.
(Emanuela De Notariis)
Gabriella Ciancimino
"If iu fil homsik, tink dailect in" the English sentence to say "if you're homesick, think in dialect," written as pronounced in Italian belongs to the artist's playful and ironic way of thinking on identity and cultural diversity and languages, especially youth. Consider them from the perspective of a South full of all the various projections and socio-cultural dimension of who has the nostalgic roots, but the contemporary lives elsewhere, cultural globetrotting.
turning red, white handkerchief, green plants: Italy is a country calling rural roots and places with left, Italy recognizable the panoramas that warm the heart and memories.
The viewer, who does not expect the proprosizione of "videoquotidianeità" in an art space in the disorientation of their expectations can take part in the nostalgia and "think in dialect" , think about your own cultural identity, understood as their home roots in the local dialect, for a moment.
(Emanuela De Notariis)
Louis Copello
Cats like men and women, musicians, punks, rebels and misfits, brilliant, sensual and elusive as indomitable felines, whose whole being suggested by the case of a mystery, elusive, if not with the senses, for a moment. Moment in which the animal and human acts come together in familiar, understandable, and yet far away. The moment in which we recognize ourselves in the animal, then we take it the distance, meowing. In
watercolors by Louis Copello the feline look enchants us, we find a common essence in being the bearer of sensibility, melancholy and potential violence. Her pupils spiked, painted, become a place of introspection.
The cat turns to the artist human actions, subject to a codification "antropocomportamentale" and while it embodies the idea of \u200b\u200bsweetness, the other is potentially fair indomitable scratchy. And we discover
predators, seducers, eager to supply masks feline sensuality (quoting Baudelaire).
(Emanuela De Notariis) watercolors by Louis Copello the feline look enchants us, we find a common essence in being the bearer of sensibility, melancholy and potential violence. Her pupils spiked, painted, become a place of introspection.
The cat turns to the artist human actions, subject to a codification "antropocomportamentale" and while it embodies the idea of \u200b\u200bsweetness, the other is potentially fair indomitable scratchy. And we discover
predators, seducers, eager to supply masks feline sensuality (quoting Baudelaire).
Tommaso Gorla
skeletal trees and desolate landscapes or bearers of misfortune, people-moving deer, other animals or hybrids between human and animal sometimes reassembled pieces of each other.
They share some violence to the "gangs of youths in the suburbs."
The artist leaves an impact on preciously genesis of worlds made of impulses and ideas, which designs and licenses the meaning of all focus on gesture and action, without narration.
nature blends with the creatures of lightness and fragility, built with a poem that hangs over places filled with melancholy.
Violence makes man and animal-like beings fancy, deformed, disturbing and perhaps suffering. All old as the forests, the puppies as young as indomitable. Characters in a 'hybrid humanity and timeless, where the trees, emissaries of heaven and earth, human survive events and are key elements of a life cycle where there is no final absolution dall'insensatezza existence. You just have to make rain sticks on the arrogance of man, in the absence of un'omerica divine punishment.
(Emanuela De Notariis) The artist leaves an impact on preciously genesis of worlds made of impulses and ideas, which designs and licenses the meaning of all focus on gesture and action, without narration.
nature blends with the creatures of lightness and fragility, built with a poem that hangs over places filled with melancholy.
Violence makes man and animal-like beings fancy, deformed, disturbing and perhaps suffering. All old as the forests, the puppies as young as indomitable. Characters in a 'hybrid humanity and timeless, where the trees, emissaries of heaven and earth, human survive events and are key elements of a life cycle where there is no final absolution dall'insensatezza existence. You just have to make rain sticks on the arrogance of man, in the absence of un'omerica divine punishment.
Silvia Idili
Human and animal have a common essence restlessness uncertain living spaces, not places, made of dark. O with a light switch to suggest possible realities visible behind a mystery: the mystery of the elusive and guess destiny that unites beings humans and animals, cultivated by the artist in a role play of gestures sopesi. In the dark places
paintings traces of recommended daily attendance, with recognizable objects lost in a distant time of aritsocratiche great-grandmothers, compared to which one has the impression of arriving late.
The anthropomorphic animal distorts the exclusivity of relationships, melancholy feeling. The common belonging is experienced man who becomes head of headless pet and lives in those dark and indefinite space, where everything happened and is happening and gives space to hear the reason.
(Emanuela De Notariis)
Kafre
Studia la simbolizzazione dei contrasti spirituali e della pretesa di illustrare e definire la totalità, senza cadere nell’errore della rappresentazione, illusione e tradimento. La realtà infatti eccede sempre la nostra capacità di analisi concettuale.
Nel lavoro di Kafre confluiscono i suoi studi dell’arte e della mistica medioevali, delle illustrazioni alchemiche e dei bestiari e di ogni arte che indaghi il processo di conoscenza, fin dall’antichità.
La consapevolezza dell’impossibilità della conoscenza absolute and salvation in the Divine are the curse of the Gnostic, the damnation of an existence that bears the mark of abandonment, of the schism between man and the mysteries of the cosmos. The cyclical nature, the duality and the eternal return, the Uroboros is associated with the continuity of time, the divine and the soil, light and blade, the conflict with the history and the attempt to give shape and appearance to their obsessions, are the basis of art as a ritual to find a balance. The creation of a world of symbols used to know and clearly oriented in the "forest of symbols" of reality.
Nel lavoro di Kafre confluiscono i suoi studi dell’arte e della mistica medioevali, delle illustrazioni alchemiche e dei bestiari e di ogni arte che indaghi il processo di conoscenza, fin dall’antichità.
La consapevolezza dell’impossibilità della conoscenza absolute and salvation in the Divine are the curse of the Gnostic, the damnation of an existence that bears the mark of abandonment, of the schism between man and the mysteries of the cosmos. The cyclical nature, the duality and the eternal return, the Uroboros is associated with the continuity of time, the divine and the soil, light and blade, the conflict with the history and the attempt to give shape and appearance to their obsessions, are the basis of art as a ritual to find a balance. The creation of a world of symbols used to know and clearly oriented in the "forest of symbols" of reality.
(Emanuela De Notariis)
Letizia Lomma
Objects also have their own history, derived from their use. It 's a story destined to end as soon as the item deteriorates, it breaks and becomes useless.
And the filter between the outside world, the imagination and feelings that structure the imaginary communicate is a valve, which is a poetic dimension in each of the useless and old newspaper.
(Emanuela De Notariis)
Lusesita
La fragilità della ceramica è la delicatezza di creature sottoposte ad una metamorfosi, operata dall’immaginario dell’artista, chirurga di bambole e navigatrice del tempo, degustatrice di biscottini al veleno fatti con tessuto di cuore. Cuocere (la ceramica), cucire (i corpi di molte sculture), generare (tutto un mondo d’arte): attività attribuite al femminile, che entrano in un mixer in cui, senza distinzione di genere, si amalgamano sogni ad occhi aperti e desideri spezzati, ali fragili e inutilizzabili, armature a protezione di sensibilità di donna, che delle proprie lacrime fa ornamento di sé.
Collage da riviste retrò 50 years, nineteenth-century illustration and amorphous beings with an astronaut helmet, or maybe divers, form poems give birth ceramic artist sing because of wounds stitched up, you want to keep that alive, locked in the casket inlaid kisses of his heart, of which each work is a piece, offered to us all. Be handled with care, caressing eyes.
(Emanuela De Notariis)
Español
The Fragilidad delicadeza es la de la cerámica de las criaturas de metamorfoseándose Lusesita,
cirujana Muñecas de Navegador y en el tiempo, de galletas
Degustadora to poison
hechas de Tejidos de corazón. Cook
ceramics, sewing the bodies of many sculptures, create a whole world of art activities attributed to the feminine, which fall in a mixture where, irrespective of gender is coupled dreams with open eyes and desires broken, fragile wings, unusable Armor protection is sensitive woman who wears her tears like jewelry. Collages of magazines
retro 50, nineteenth century illustrations and amorphous beings with helmets of astronauts and divers may form ceramic poetry calved by the artist, to be sung on wounds patched, desires that are still alive, locked in the kiss carved chest of his heart, each offered a piece to all of us.
Para ser manejado con cuidado acariciándolo con los ojos.
Nicola Macolino
Una campana per statue di Santi e una donna sanguinaria nel cui ventre cresce bramosia di potere, che col suo seno nutre crudeltà, intralciano lo spaziare dello sguardo all’interno della galleria d’arte. Interagendo con l’osservatore, rompono la distanza che egli pone tra sé e le opere.
Macolino è regista e scenografo teatrale, artista visivo, poeta del visuale e officiante di rituali che in teatro sono un tripudio per gli occhi avidi di sensazioni forti e per le menti che si concedono ad una caduta libera nel vortice di una fascinazione physical and mental health, able to cancel any time dimension.
On display are items taken from his plays, including main character is Lady Macbeth, from the recent "Sleep in Macbeth." The bell for the Saints as she stands statuesque cold knife blade, as ruthless sword that has torn apart many meats. During the inauguration, the Lady actress offers herself as living sculpture. Not holy, but in his sacred totemic static, is the priestess of a crazy ritual of blood and death, worship of power in her barren mother, died from his condition as a woman. It gives a bit 'of his madness, a piece of itself to each of us, with his body as a reminder that greed Power is a beast ready to emerge from the belly of each of us straining lives.
(Emanuela De Notariis)
Maicol & Mirco
be amorphous in worlds made of organic mushy bumps mocking stereotypes and fears are normally subject to daily exorcism. From comic book to the canvas, the black humor of the artists playing catch with the guts and the respectability to bite off the excrescences of virulent hypocrisy socially accepted. Like thugs in the suburbs with the bikes, from bullies ridicule fears of death and deformity. Deformed and intended to be disillusioned, their characters, they get to a carefree nihilist, while Playful impenano in managing their worlds of self-reproducing organisms.
And we are all alone sleeping with our awareness of the existence of the bowels.
(Emanuela De Notariis)
Peter Mancini
darkness instead of lighting candles to draw icons of metal-faced Who's in limbo between two ages and two conditions, in the liminal zone that separates man and confuses the child and the innocence disillusionment. The contemporary world has
arcane symbols next to new icons, new desires and aspirations that guide and travel habits in listening to Beauty in itself is an attempt to maintain the sacred fire of purity that a song of cicadas can keep alive. In
shrine for relics of travel between two ages, two species, including the conflicts of existence at the mercy of the consumer society, will appear today's adolescent identity development, which seeks security in a logo, nell'ambandono of listening force search of cicadas.
yet retaining a primal innocence, are the "pueri memento" and that we have all been preserved in memory. The sacred innocence exposed in all its delicacy in the diving suit of today's construction of identity, is at risk of desecration of a symbol of nature and contemporary embroidery. Each sacronauta then reveals how, through the galaxies in search of itself, seeking redemption for his heart ass.
(Emanuela De Notariis)
Sergio Mora
Letizia Lomma
Objects also have their own history, derived from their use. It 's a story destined to end as soon as the item deteriorates, it breaks and becomes useless.
So tires and inner tubes of bicycle, if the broken valve, are surely going to disposal. The artist instead of them recovered, used in a performance, dance, dancing around what they were, before reconstructing the history and make them more: a bull, a stimulus to the imagination.
's so that these objects torn death found new life in art and their history, their sense stuck in the broken valve, instrument forfeited and air protection, the filter becomes a metaphor of human experiencing and feeling the world.
Among the artist's hands, inert and useless things take the form of imagination, after a dance ritual of transition from one life to another. 's so that these objects torn death found new life in art and their history, their sense stuck in the broken valve, instrument forfeited and air protection, the filter becomes a metaphor of human experiencing and feeling the world.
And the filter between the outside world, the imagination and feelings that structure the imaginary communicate is a valve, which is a poetic dimension in each of the useless and old newspaper.
(Emanuela De Notariis)
Lusesita
La fragilità della ceramica è la delicatezza di creature sottoposte ad una metamorfosi, operata dall’immaginario dell’artista, chirurga di bambole e navigatrice del tempo, degustatrice di biscottini al veleno fatti con tessuto di cuore. Cuocere (la ceramica), cucire (i corpi di molte sculture), generare (tutto un mondo d’arte): attività attribuite al femminile, che entrano in un mixer in cui, senza distinzione di genere, si amalgamano sogni ad occhi aperti e desideri spezzati, ali fragili e inutilizzabili, armature a protezione di sensibilità di donna, che delle proprie lacrime fa ornamento di sé.
Collage da riviste retrò 50 years, nineteenth-century illustration and amorphous beings with an astronaut helmet, or maybe divers, form poems give birth ceramic artist sing because of wounds stitched up, you want to keep that alive, locked in the casket inlaid kisses of his heart, of which each work is a piece, offered to us all. Be handled with care, caressing eyes.
(Emanuela De Notariis)
Español
The Fragilidad delicadeza es la de la cerámica de las criaturas de metamorfoseándose Lusesita,
cirujana Muñecas de Navegador y en el tiempo, de galletas
Degustadora to poison
hechas de Tejidos de corazón. Cook
ceramics, sewing the bodies of many sculptures, create a whole world of art activities attributed to the feminine, which fall in a mixture where, irrespective of gender is coupled dreams with open eyes and desires broken, fragile wings, unusable Armor protection is sensitive woman who wears her tears like jewelry. Collages of magazines
retro 50, nineteenth century illustrations and amorphous beings with helmets of astronauts and divers may form ceramic poetry calved by the artist, to be sung on wounds patched, desires that are still alive, locked in the kiss carved chest of his heart, each offered a piece to all of us.
Para ser manejado con cuidado acariciándolo con los ojos.
Nicola Macolino
Una campana per statue di Santi e una donna sanguinaria nel cui ventre cresce bramosia di potere, che col suo seno nutre crudeltà, intralciano lo spaziare dello sguardo all’interno della galleria d’arte. Interagendo con l’osservatore, rompono la distanza che egli pone tra sé e le opere.
Macolino è regista e scenografo teatrale, artista visivo, poeta del visuale e officiante di rituali che in teatro sono un tripudio per gli occhi avidi di sensazioni forti e per le menti che si concedono ad una caduta libera nel vortice di una fascinazione physical and mental health, able to cancel any time dimension.
On display are items taken from his plays, including main character is Lady Macbeth, from the recent "Sleep in Macbeth." The bell for the Saints as she stands statuesque cold knife blade, as ruthless sword that has torn apart many meats. During the inauguration, the Lady actress offers herself as living sculpture. Not holy, but in his sacred totemic static, is the priestess of a crazy ritual of blood and death, worship of power in her barren mother, died from his condition as a woman. It gives a bit 'of his madness, a piece of itself to each of us, with his body as a reminder that greed Power is a beast ready to emerge from the belly of each of us straining lives.
(Emanuela De Notariis)
Maicol & Mirco
be amorphous in worlds made of organic mushy bumps mocking stereotypes and fears are normally subject to daily exorcism. From comic book to the canvas, the black humor of the artists playing catch with the guts and the respectability to bite off the excrescences of virulent hypocrisy socially accepted. Like thugs in the suburbs with the bikes, from bullies ridicule fears of death and deformity. Deformed and intended to be disillusioned, their characters, they get to a carefree nihilist, while Playful impenano in managing their worlds of self-reproducing organisms.
And we are all alone sleeping with our awareness of the existence of the bowels.
(Emanuela De Notariis)
Peter Mancini
darkness instead of lighting candles to draw icons of metal-faced Who's in limbo between two ages and two conditions, in the liminal zone that separates man and confuses the child and the innocence disillusionment. The contemporary world has
arcane symbols next to new icons, new desires and aspirations that guide and travel habits in listening to Beauty in itself is an attempt to maintain the sacred fire of purity that a song of cicadas can keep alive. In
shrine for relics of travel between two ages, two species, including the conflicts of existence at the mercy of the consumer society, will appear today's adolescent identity development, which seeks security in a logo, nell'ambandono of listening force search of cicadas.
yet retaining a primal innocence, are the "pueri memento" and that we have all been preserved in memory. The sacred innocence exposed in all its delicacy in the diving suit of today's construction of identity, is at risk of desecration of a symbol of nature and contemporary embroidery. Each sacronauta then reveals how, through the galaxies in search of itself, seeking redemption for his heart ass.
(Emanuela De Notariis)
Sergio Mora
If the onion was a metaphor for man, we could say that the nucleus inside of the onion is the human heart. Each layer that ricopre può essere allora ciò che separa la sfera emozionale nella sua autenticità, intensità e fragilità, da ogni sovrastruttura, ogni paura, ogni condizionamento esterno. Praticamente da ogni codificazione del comportamento e dell’esternazione della propria emozionalità e del proprio pensiero.
I mondi dipinti di Sergio Mora hanno origine direttamente da quel centro di sensibilità incondizionata, che in quel nucleo/cuore conserva tutta la sua irruenza.
I cartoni animati americani anni ’50, l’estetica pin-up, i tatuaggi classici e la scena pop surrealista americana sono i riferimenti di quest’artista, che dipinge luna park abitati da esserini meravigliosi and terrible dangers, bunnies and bloody characters carrolliana memory, he kidnaps her without asking for ransom.
journey in his candy-colored face is fitted with serum antimostro and the flaming heart in his hands.
(Emanuela De Notariis)
Peio Peev
drawings and sketches are a collection of suggestions and visions, transferred to paper with a ' immediacy that freezes the moment into a design in which the body gives up and shows his deformity. Every meeting, every person, actors movies, toys or comic book heroes are flayed by the artist, investigated and shown on the sheet in their appearance monstrous, ridiculous, scary.
deformation and emotional interaction with others, without filters.
Peio reconstructs reality and mixing somatic memories, situations, characters, actions and overlapping roles, which displaces. It offers a
cosmorama its interface with the world, which reconstructs according to their own eyes. With his eyes we see the characters and situations in which time is suspended, as they are suspended all the judgments and interpretations. There remains only the skinning of polishing the patina that nelll'odierno confused more and more real and configured virtual, makes it fiction.
Peio picks each in the moment of distraction from their role and makes a gesture with the eternal distraction.
(Emanuela De Notariis)
Poilacartabrucia - Clio
Verba volant scripta manent ... but even if the paper burns, deteriorates. More
design, what matters is the intention that generates it: the work is the result of a process that through the act of drawing marks the transformation of thought into a tangible form. The sense of the artist's work is not then in the final product, which carries with it traces visible and communicate to another his thinking, his feeling.
The artist examines the reality of x-ray to unmask vulnerability and feelings man, the city, nature, actions and expressions merge into an organic whole in which each element appears in the watchful eyes, eager to walk the lines of the drawing.
shape can be conceptual and is a sign of bodies and through the bowels of the city, which makes the leaves, hair and clothes the grain of the artist's body, to transpose the art.
(Emanuela De Notariis)
Moira Ricci
If "the end" was tragic I'd be more accustomed to suffer the disappointments of love. " TV, cinema, offer visions of the literature of love a happy ending, life dramas that draw from the reality of consolation for the disappointments that often reserve.
The happy ending is the illusion that the film provides easy positive hopes for a resolution of the emotional complications. What would happen to Sandy from Grease, Breakfast at Tiffany's Holly, Ariel Disney's The Little Mermaid if they had lost their loved ones forever? That girls did not bring us more success stories that leave us unprepared for the suffering of life, dreaming of Prince Charming and triumphs of undying love. Revenge is then change the end of the film, replace the images and also to hurt them, Sandy and Holly, as the end of happy women boum or Top Gun and many other cult film, with a happy ending with tears and popcorn.
In real life, however, the popcorn are often salted with tears, and make a fiction in the fiction to get a sense of reality against the proposition of corny and unrealistic models of mass, is so ironic, how tragic. A game seemingly carefree, which draws on deep feelings, in which every woman can identify.
(Emanuela De Notariis)
Giuliano Sale
innocence lies a gray area that is veiled and revealed in looks sad and chilling. Subjects
mostly female damage idea that they were momentarily distracted by the rituals that was never revealed. You mock us blind, that we fail to grasp the enormity of everyday life, while their gaze penetrates deeply into reality until his bowels, until his ineffable essence. For
hand of the artist, the darkness envelops girls who have mastered the keys of mystery and arcane knowledge, in which lie the secret access to the area of \u200b\u200bshadow behind every appearance.
O sono semplicemente adolescenti che lasciano intravedere il proprio lato oscuro, così potente quando l’identità è in transizione e il corpo sfugge al controllo della ratio.
Animali inconsueti le accompagnano nella scelta ambigua e reversibile tra violenza e dolcezza, rosso di bacche o di sangue, mentre maschere si alternano sui volti di vite qualsiasi. Il loro sguardo invita chi le osserva a ri/conoscersi nel loro mondo, in cui ogni elemento mostra il suo doppio e la sua deformità.
(Emanuela De Notariis)
Alessandra "Banana" Tisato
Photography as construction of other realities, immortalized provocative pin-up post-modern, anti-icons that mock stereotypes of women worn out by the custom.
L 'artist makes a confusion between reality and fiction, mixing the categories of opposites between good and evil and innocence and destruction, with humor and sensuality. The beauty is disturbing, revealing hidden desires and rejects conventions and models built on the female body from social and cultural moralism, overlaying a visual imagination that refuses any mass media, and conformity rather modeled on subcultures and counterculture. The
geishas and queens of beauty contest then are loaded with ambiguity, become a source of desire and anxiety, they reveal an unusual power of violence, suggesting a taste for games that define the common moral and respectable inappropriate. Exchange and confuse roles and personalities, including in their own hand and mock any attempt at coercion of sensuality, wink wink to the viewer, suggesting the unveiling of repressed desires. The beauty becomes commodified
executioner of victims without any possibility of redemption, darts gall concern that the make-up on the face of society.
(Emanuela De Notariis)
Cristina Urban
Agglomerati di cellule ricordano occhi ammassati entro ventri molli, rifugi per sguardi che hanno visto l’essenza drammatica dell’esistenza. Tutti insieme, pigiandosi, si scambiano energia. Creando protuberanze e tentacoli, moltiplicandosi, le cellule originano esseri spauriti, mostriciattoli informi di tenerezza e latente inquietudine.
Fatti di ombra a matita, hanno capacità di rubarti il cuore per coprire di cerotti ogni sua ferita e poi restituirtelo. Saltano fuori dalle ombre più nere nelle camerette dei bambini, quei regni dell’ignoto che spaventano con il mistero di ciò che non è razionalizzabile, visto con occhi ancora incapaci di sovrastrutturare la visione. Occhi che, riunendosi, formano cellule immaginarie to create worlds whose inhabitants populate the reality of feelings without bark.
(Emanuela De Notariis)
Nora Noah Wuytack
a wonderland where Alice grew up, but not too much and jumping into worlds inhabited by animals and colorful hybrids, from appearance cheerful and childish, but veiled with melancholy. Sometimes shows have a surprising ferocity trannenuta, echo of the real laws of nature, man has moved away by itself with socio-cultural codings. The Bambi
artist who can play with razor blades and razor sharp, his Alice, girls like her inhabitants dei propri sogni, delle proprie visioni, così innocenti sembrano stringere un po’ troppo in mano i teneri coniglietti bianchi, spogli della propria autorità.
L’artista gioca con la sovrapposizione dei registri di dolcezza e violenza, dando vita a personaggi in ceramica, con aggiunte di materiali diversi come capelli o veletti, che strappano sorrisi e il cuore a colpi di tenerezza. Bambine vampire e principi porcospini con la coroncina preziosa sembrano estratti dai nostri sogni di bambini, proiezioni delle nostre memorie, delle nostre menti liberate da condizionamenti del quotidiano esistere e pensare. E tutte le poesie delle scuole elementari diventano filastrocche tridimensionali per bambini cresciuti, con idee come proiettili, non sempre loaded with blanks.
(Emanuela De Notariis)
I mondi dipinti di Sergio Mora hanno origine direttamente da quel centro di sensibilità incondizionata, che in quel nucleo/cuore conserva tutta la sua irruenza.
I cartoni animati americani anni ’50, l’estetica pin-up, i tatuaggi classici e la scena pop surrealista americana sono i riferimenti di quest’artista, che dipinge luna park abitati da esserini meravigliosi and terrible dangers, bunnies and bloody characters carrolliana memory, he kidnaps her without asking for ransom.
journey in his candy-colored face is fitted with serum antimostro and the flaming heart in his hands.
(Emanuela De Notariis)
Peio Peev
drawings and sketches are a collection of suggestions and visions, transferred to paper with a ' immediacy that freezes the moment into a design in which the body gives up and shows his deformity. Every meeting, every person, actors movies, toys or comic book heroes are flayed by the artist, investigated and shown on the sheet in their appearance monstrous, ridiculous, scary.
deformation and emotional interaction with others, without filters.
Peio reconstructs reality and mixing somatic memories, situations, characters, actions and overlapping roles, which displaces. It offers a
cosmorama its interface with the world, which reconstructs according to their own eyes. With his eyes we see the characters and situations in which time is suspended, as they are suspended all the judgments and interpretations. There remains only the skinning of polishing the patina that nelll'odierno confused more and more real and configured virtual, makes it fiction.
Peio picks each in the moment of distraction from their role and makes a gesture with the eternal distraction.
(Emanuela De Notariis)
Poilacartabrucia - Clio
Verba volant scripta manent ... but even if the paper burns, deteriorates. More
design, what matters is the intention that generates it: the work is the result of a process that through the act of drawing marks the transformation of thought into a tangible form. The sense of the artist's work is not then in the final product, which carries with it traces visible and communicate to another his thinking, his feeling.
The artist examines the reality of x-ray to unmask vulnerability and feelings man, the city, nature, actions and expressions merge into an organic whole in which each element appears in the watchful eyes, eager to walk the lines of the drawing.
shape can be conceptual and is a sign of bodies and through the bowels of the city, which makes the leaves, hair and clothes the grain of the artist's body, to transpose the art.
(Emanuela De Notariis)
Moira Ricci
If "the end" was tragic I'd be more accustomed to suffer the disappointments of love. " TV, cinema, offer visions of the literature of love a happy ending, life dramas that draw from the reality of consolation for the disappointments that often reserve.
The happy ending is the illusion that the film provides easy positive hopes for a resolution of the emotional complications. What would happen to Sandy from Grease, Breakfast at Tiffany's Holly, Ariel Disney's The Little Mermaid if they had lost their loved ones forever? That girls did not bring us more success stories that leave us unprepared for the suffering of life, dreaming of Prince Charming and triumphs of undying love. Revenge is then change the end of the film, replace the images and also to hurt them, Sandy and Holly, as the end of happy women boum or Top Gun and many other cult film, with a happy ending with tears and popcorn.
In real life, however, the popcorn are often salted with tears, and make a fiction in the fiction to get a sense of reality against the proposition of corny and unrealistic models of mass, is so ironic, how tragic. A game seemingly carefree, which draws on deep feelings, in which every woman can identify.
(Emanuela De Notariis)
Giuliano Sale
innocence lies a gray area that is veiled and revealed in looks sad and chilling. Subjects
mostly female damage idea that they were momentarily distracted by the rituals that was never revealed. You mock us blind, that we fail to grasp the enormity of everyday life, while their gaze penetrates deeply into reality until his bowels, until his ineffable essence. For
hand of the artist, the darkness envelops girls who have mastered the keys of mystery and arcane knowledge, in which lie the secret access to the area of \u200b\u200bshadow behind every appearance.
O sono semplicemente adolescenti che lasciano intravedere il proprio lato oscuro, così potente quando l’identità è in transizione e il corpo sfugge al controllo della ratio.
Animali inconsueti le accompagnano nella scelta ambigua e reversibile tra violenza e dolcezza, rosso di bacche o di sangue, mentre maschere si alternano sui volti di vite qualsiasi. Il loro sguardo invita chi le osserva a ri/conoscersi nel loro mondo, in cui ogni elemento mostra il suo doppio e la sua deformità.
(Emanuela De Notariis)
Alessandra "Banana" Tisato
Photography as construction of other realities, immortalized provocative pin-up post-modern, anti-icons that mock stereotypes of women worn out by the custom.
L 'artist makes a confusion between reality and fiction, mixing the categories of opposites between good and evil and innocence and destruction, with humor and sensuality. The beauty is disturbing, revealing hidden desires and rejects conventions and models built on the female body from social and cultural moralism, overlaying a visual imagination that refuses any mass media, and conformity rather modeled on subcultures and counterculture. The
geishas and queens of beauty contest then are loaded with ambiguity, become a source of desire and anxiety, they reveal an unusual power of violence, suggesting a taste for games that define the common moral and respectable inappropriate. Exchange and confuse roles and personalities, including in their own hand and mock any attempt at coercion of sensuality, wink wink to the viewer, suggesting the unveiling of repressed desires. The beauty becomes commodified
executioner of victims without any possibility of redemption, darts gall concern that the make-up on the face of society.
(Emanuela De Notariis)
Cristina Urban
Agglomerati di cellule ricordano occhi ammassati entro ventri molli, rifugi per sguardi che hanno visto l’essenza drammatica dell’esistenza. Tutti insieme, pigiandosi, si scambiano energia. Creando protuberanze e tentacoli, moltiplicandosi, le cellule originano esseri spauriti, mostriciattoli informi di tenerezza e latente inquietudine.
Fatti di ombra a matita, hanno capacità di rubarti il cuore per coprire di cerotti ogni sua ferita e poi restituirtelo. Saltano fuori dalle ombre più nere nelle camerette dei bambini, quei regni dell’ignoto che spaventano con il mistero di ciò che non è razionalizzabile, visto con occhi ancora incapaci di sovrastrutturare la visione. Occhi che, riunendosi, formano cellule immaginarie to create worlds whose inhabitants populate the reality of feelings without bark.
(Emanuela De Notariis)
Nora Noah Wuytack
a wonderland where Alice grew up, but not too much and jumping into worlds inhabited by animals and colorful hybrids, from appearance cheerful and childish, but veiled with melancholy. Sometimes shows have a surprising ferocity trannenuta, echo of the real laws of nature, man has moved away by itself with socio-cultural codings. The Bambi
artist who can play with razor blades and razor sharp, his Alice, girls like her inhabitants dei propri sogni, delle proprie visioni, così innocenti sembrano stringere un po’ troppo in mano i teneri coniglietti bianchi, spogli della propria autorità.
L’artista gioca con la sovrapposizione dei registri di dolcezza e violenza, dando vita a personaggi in ceramica, con aggiunte di materiali diversi come capelli o veletti, che strappano sorrisi e il cuore a colpi di tenerezza. Bambine vampire e principi porcospini con la coroncina preziosa sembrano estratti dai nostri sogni di bambini, proiezioni delle nostre memorie, delle nostre menti liberate da condizionamenti del quotidiano esistere e pensare. E tutte le poesie delle scuole elementari diventano filastrocche tridimensionali per bambini cresciuti, con idee come proiettili, non sempre loaded with blanks.
(Emanuela De Notariis)
