About Francesco Liggieri
Francesco Liggieri is a traditional, almost old-time, artist, but he feels comfortable with the fast and always changing contemporary time he lives in an he uses as nourishment for his work. In fact, his pictorial style seems to have been grown and got stronger together with him during his slow transition from a child to an adult, without any impatient acceleration, but with a natural constancy which is very rare to find in a young artist today. This natural approach and also this kind of stylistic evolution are supported by Francesco's inborn predisposition to consider art as a way to express himself, through the use of painting and colours, and also to get in touch with the world he lives in, since he was a child. From the moment he used his first piece of chalk to draw a white line on a blue scrap of fabric, Francesco Liggeri's been keeping on testing different types of media and supports, such as tempera, oil colours, drawing pencils, wood, wall, paper, canvas, and he has accomplished his artistic style also thanks to his studies at the School of Fine Arts in Venice. The debt to Pop and Street art is evident and it's the base of Francesco Liggieri's activity as an artist, however without hindering his genuine and personal technique founded on the ability to let the daily life and the exceptionality live together on the canvas. In fact, the reality taken from the newspapers, the movies and the internet is the main character of Francesco Liggieri's work, but he is able to transpose it on his canvas as a good opportunity to create a connection, playful and reflexive at the same time, to the audience. Choosing characters who live temporary states, such as the different ages, from the childhood on, and who are defined by a sort of unusual uniqueness, Francesco Liggieri makes familiarity and extraordinariness join up, without any unbalanced result. Anyone can identify himself with the child who holds a gun in Where we go now? Where we go now!?, or with the other child who holds a lollipop in My dream come!... Maybe Tomorrow, or with the young character in the middle of *****, or at least with the group of Campi di pop corn (where is Anna Frank?), but only that child is a victim of a terrible war, only that child will become pope, only that little girl has been Anna Frank. The game Francesco Liggieri plays towards himself and also towards the world he shares with his audience is linked to a deep urgency of "taking a picture" of reality so it as and then of transforming it in an artwork using the media he prefers. Acting as a smart and curious child, Francesco Liggieri is capable of making his spectators think over the complex and often thorny subjects of his works (for instance, the controversial conflicts exemplified by the Soldati series, the violence against children, which is visible in the eyes of the main character of Where we go now? Where we go now!?, the compulsive isolation of the contemporary, globalized man identified with the young character of *****, the daily politics, exemplified by Good Morning, Mister President), without any artificial complexity, but just using a consistent simplicity that makes the peaceful coexistence of daily life and uniqueness possible. Every single artwork realized by Francesco Liggieri is readable. His paintings and his installations are both created using a "flat" style, but they're never simplistic or banal, neither his way of studying the human being as the core of his own poetics. From the beginning to these days, lines and colours have been becoming the tools to outline human characters as more and more essential but full of contents and also immediately perceived by the spectator without any additional help or interference from the artist. The artwork speaks for itself. The artist just suggests a point of view, clear and well-defined, but it's a spectator's prerogative to deepen the reflection proposed. That's the reason why the installations need the audience's interaction. The spectator, helped by the immediacy of the artwork, made possible by the use of simple devices as the only dominant of the red colour in Amen, or by the wise disposition of the portraits realized for For Tomorrow that leads the eyes of the audience, is invited, not forced, to get in touch with the artwork, also finding new meanings for that. The artist hopes for a free approach to his works by the spectators so as to let them identify with the uniqueness hidden under the surface of the daily life. In the end, the subject of Francesco Liggieri's work is the exception, without any extraordinary connotation. Arianna Testino ( i.c. )
During his academic education he goes through the images of Picasso and Richter, combining the social involvement and the attention to the human figure with street sensitivity and a sort of post-pop freedom inspired by Haring, Salle and, recently, Bansky. He graduated at the Academy of Fine Arts of Venice in 2006 with full marks. In the same year he founded Collettivo Rapido, a flexible collective which gets together artists in temporary collaborations and expositions. Since 2005 he participates steadily to exposition and artistic projects as solo artist.
Recently he is interested in experiments combining painting and installation.