CLINT EASTWOOD Painting

I was born in Tivoli (Rome) in 1977 and I graduated in Economics. Completely self-taught, I started painting in 2006, trying to make up for the lack of teaching with a strong ability to absorb all forms of art, which managed to give me a wealth of ideas and stimuli for an artistic journey that since beginning I had a problem of originality and chromatic and thematic power. My first works are inevitably marked by a strong naive imprint, where a natural predisposition for the use of warm and tropical colors, was accompanied by the prevalent representation of scenes of life of ethnic groups of the "Third World" (African and Latin American), who have signaled me as an artist of travel and escape; plausible and realistic journeys in the punctuality of details, but "salgariani" (by the Italian writer Emilio Salgari) given the immobility of my residence; and anyway, I think, effective in expressing a sort of disappointment for belonging to a "modern" world only on the surface, but decadent and arid in substance. Later, the theme of the journey progressively faded, while the colors and the materiality of the color spread on the surface were accentuated, diverting the main theme of my work towards an existentialism with psychedelic hues and shapes deformed by eruptions of color, which become the individual and collective magma of that part of contemporary society that does not accept the drift and decides to express the discomfort, but without giving up the message of "beauty" that art must always bring in every historical moment in which it is placed. Ultimately, I can say that I have discovered painting late, even if, I believe, the mechanisms concerning the creative path behind a simple work, and everything that concerns dedication with seriousness and self-denial, even outside the hours spent in front of it at an easel, they were already somehow rooted in me and waiting for an opportunity to be tested. In a few years I tried to burn the stages (or at least recover as much time as possible) visiting many museums and exhibitions and studying the History of Art, and with a humble sense of work and ability of imagination (implemented through a deep meditation on each technical and creative aspect) I tried to take possession of those manual, stylistic and intellectual means that could give my art "recognizability" without which an artist could not be called such.