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Italy
Drawing, Colored Pencil on Paper
Size: 29.5 W x 41.3 H x 0.1 D in
Ships in a Tube
Censorship is Always a Missed Call comes from a consideration about contemporary communication, especially about how communication is being adjusted to the meaning of representing and including as many people as possible. The subject, an old model landline phone, is drawn colored pencils on paper without any number and symbol but the asterisk, which is well-known today not only as censorship, but also as a limit on discrimination: from means of restriction to means of freedom. But can freedom really be found in uniqueness, renouncing the ambivalence of the expressive multiplicity? Is it possible to communicate with the many only through one single symbol? The topic of inclusiveness and freedom of expression is symbolically (and provocatively) subjected to a “remise en cause”, that is meant to stimulate some consideration about this contemporary society to which we all take part.
Drawing:Colored Pencil on Paper
Original:One-of-a-kind Artwork
Size:29.5 W x 41.3 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Italy.
Customs:Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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Born in 1996 in Milan, Italy. Representative Gallery - Punto Sull'Arte Gallery, Varese (IT). Valentina Diena’s work, which is mainly characterized by the technique of hyperrealism pencil on paper, contains the constant research of a mystical and also anthropological meaning in all those consumer goods that fill and decorate our everyday life. The artist searches and analyzes these objects as endless tiles of a single puzzle, the one of our collective memory but also of our contemporary identity, and then portray them through a thorough and detailed hyperrealism colored pencils on paper. In her drawings, the fetishization of the consumer good bumps into the very denial of the industrial product, a slow and strenuous technical process and a strong conceptual charge. The ambivalences that are typical of her research (picture - drawing, main character - walk on, appearance - meaning) direct the gaze to an endless research, while the use of colored pencils recovers and keeps alive the bond with a creative child experience that is shared and familiar to each of us.
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