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VIEW IN MY ROOM

CORONAVIRUS TIME Painting

Sergio Mario Illuminato

Italy

Painting, Acrylic on Canvas

Size: 39.4 W x 27.6 H x 0.8 D in

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About The Artwork

In less than 100 days, worldwide, thousands of people died from the Coronavirus and half the world's population is forced to remain at home in isolation for months and months due to the pandemic. I got stuck in front of this canvas, because I realized that I could not document with art the extermination of entire generations and the complex state of mind in living the quarantine. In the end I had to invent a new way of representing the unrepresentable. If you combine all the colors, the result is white. So this white picture that blinds us really wants to be the totality of all colors. We could argue that it wants to be the whole of our life, there in front of you in this moment closed at home. But maybe this work is asking us too, let there be light inside you, try to see further. And of course, as we all know, letting there be light also means desire for justice, desire for truth. In meno di 100 giorni, in tutto il mondo, migliaia di persone sono morte per il Coronavirus e metà popolazione mondiale è costretta a restare a casa, in isolamento, per mesi e mesi, a causa della pandemia. Mi sono bloccato davanti questa tela, perché mi sono reso conto di non poter documentare con l'arte lo sterminio di intere fasce generazionali e lo stato d'animo complesso nel vivere la quarantena. Alla fine ho dovuto inventare un nuovo modo di rappresentare il non rappresentabile. Se si uniscono tutti i colori, il risultato è bianco. Quindi questo quadro bianco che ci acceca vuole essere davvero la totalità di tutti i colori. Potremmo arrivare a sostenere che vuole essere la totalità della nostra vita, lì davanti a te in questo momento chiuso a casa. Ma questo lavoro forse ci sta chiedendo anche, lascia che ci sia luce dentro di te, prova a vedere oltre. E naturalmente, come si sa, lasciare che ci sia luce significa anche voglia di giustizia, voglia di verità. En moins de 100 jours, dans le monde, des milliers de personnes sont mortes du Coronavirus et la moitié de la population mondiale est forcée de rester chez elle en isolement pendant des mois et des mois en raison de la pandémie. Je me suis retrouvé coincé devant cette toile, car j'ai réalisé que je ne pouvais pas documenter avec art l'extermination de générations entières et l'état d'esprit complexe de vivre la quarantaine. Au final, j'ai dû inventer une nouvelle façon de représenter l'irreprésentable. Si vous combinez toutes les couleurs, le résultat est blanc. Donc cette image blanche qui nous aveugle veut vraiment être la totalité de toutes les couleurs. On pourrait dire qu'elle veut être toute notre vie, là devant vous en ce moment fermé à la maison. Mais peut-être que ce travail nous demande aussi, qu'il y ait de la lumière en vous, essayez de voir plus loin. Et bien sûr, comme nous le savons tous, laisser la lumière signifiera aussi le désir de justice, le désir de vérité.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 27.6 H x 0.8 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

My artistic research is closely linked to the vision of the world as a movement permeated by the energy of human fragility. At the core of my work lies the idea of «Corpus-et-Vulnus,» an existential alchemical synthesis that merges the physical and spiritual aspects. Visually, it’s not just about haptic volumes triggered within the device. I move within the unusual space of interstitial zones between painting∞sculpture, influenced by the language of cinema, dance, music, and photography, in order to continually re-signify exhibition spaces and experiment with practices that foster a unique process of relationships. This process can unveil a shared lexicon between artists and participants. Among many other things, I have also abandoned the nail of painting being attached to the wall of a white cube and brought the devices down from the pedestal to the ground amidst the «contemporary cathedrals of vulnerability»: former prisons-asylums-slaughterhouses-hospitals-church-boats… hibernated places in our metropolises where we can discover what lies behind-the-functioning-world. To concretize my artistic vision, I have named the devices “Communicating Artistic Organisms” because they do not have a fixed and concluded form, but are composed of an ever-evolving “Cosmic-Fabric-Weave,” where everything is in a state of change: chemical reactions, fermentations, chromatic alterations, and decay. This name reinforces the idea that art is a process closely linked to life as raw material and involves an active and inclusive interpretative nature between artists and participants, where the entire process of relationships that ensues can reveal connections, affinities, and possible developments. Expanding on the terms of site-specific and site-sensitive devices, I speak of «Site-Coexistence,» which is the attempt to create not a confrontation but a dialogue between multiple existences for a more impactful experience, even if confined to the time and space of the exhibition performance. My personal artistic language has developed through experimentation and inspiration from great masters such as Kiefer, Parmiggiani, Beuys… My artistic design is heavily influenced by the tradition of informal and conceptual art, in which the irreversible and continuous transformation of the «Body-beyond-Matter» is an integral part of an «Nomadic Ethics» and «Aesthetics-of-Convergence» based on the creative mechanisms of Ruins.

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