CUCCUA' Painting

Title : CUCCUA' 1995 Size of the painting: 200 x 53 x 2 cm. Dimensions including the frame: 218 x 71 cm. Dimensions frame:9 x 6,5 x 2 cm. The frame was designed and built by hand by the Architect Pietro Bagli Pennacchiotti, of solid wood, refinement with an aniline and wax patina. The materials used for the painting: oil colors and screen printing colors stretched with the silk screen across the canvas by hand and brush. The work is a painting on canvas, unique. has a large wooden frame, designed and made by hand, as a container, which hangs on the wall. When you look at an old opera house is restored or unrestored acknowledges that time is a permanent element of life and work that is consumed by the viewer along with the physical size of the work space. Time as a dimension is acquired only with the passage of time marked and irreversible historic step that also contributes to the poetic power of the work. The restoration of the missing parts-integrative, occurred at random, has the purely functional to make them readable. So it is a medical intervention almost from the ethical point of view, without changing the message or pictorial conception of form or substance. I, in my work, I try to capture from my work the dimension of time. The painting becomes a pretext, a formal support that gives body al'idea to gain time, stopping and condensandolo between the limits as defined by the gaps in the formal absence. My painting is a modern work that has only the size of the space created by the reports compostivi of shapes and colors. The only quality time is the time it takes to achieve it and the moment when the consumer looks at art. While in an antique painting the destruction is done empirically in time, I, in my work, I provoke the moment of destruction, and directs a compositional level, thus creating gaps absence. The restoration, which is the integration of the gaps absence, with the hatching technique, has the role of time delay in my work, for my choice, as an abstract aspect. Then a reversal happens over time that gives it complexity. The spatial quality is the sum temporal quality, without which the poetry of each object does not exist. So my painting captures the dimension of time, irreversible act in its natural dynamics, creating a survivor, a reversal, a physical return. In the masterpieces of past centuries the dimension of time is a consequence. The act of conservative restoration is only an intervention additional, non-directional, which is applied in parallel on the physicality of the work space. In my paintings, the act of restoration is a conservative opposition. A medium that contradicts the physical-spatial direction of the work and creates a mental return in the distant past. It 'a game realized scientifically from technical point of view, which has the purpose of triggering an abstract level the problem thin, but essential, of the time. The work of "support" includes certainly worth artisanal virtuosity. You might not ever be applied to a message gaunt, on a pure idea without a formal structure that is ephemeral and therefore will never need an act of reparation, because he lives only in the mind, not physically. This game takes place on a work that lives materially, which has a formal presence and consequently the reconstruction and reintegration. The work could die, but its rebirth realized with the help of the integrating restoration occurs through the thickness of the time it works like a key to open the door of the imagination. The reintegration of the gaps absence (the act of integrative restoration act is checked in my work) also becomes a pretext composition that has values ​​plastics formal: the alternation of white space stucco (plaster of Bologna and rabbit skin glue) smooth, rough or ristuccati become much silence; the alternaza shooting at hatching (watercolor technique from the point of view of science is a chromatic decomposition pointillist) returners circuits colorful rhythms. Everything participates in the architecture of the final image. Returns to the initial design of the geometry of the painting made ​​with a collage of newspaper on the surface of the clear and defatted white canvas. Take the cast of this initial design. The type of pictorial technique used is mixed media: ink, tempera, acrylic, colored chalks, stain, sand, jelly, oil and color silk screen thinner (mineral spirits and nitro). The system of work is in layers. A succession of images not juxtaposed, but overlapping, like the frames of a film in memory or imagination, with different moods: the yearning aggressive, passionate tale from the cold codification of the final mark. Thus, hyper-realistic pages destroyed by gestural movements, with effects of abstract expressionism and informal dripping, similar to the dynamism of Op art, with a dominant color and structural expression, create a considerable thickness of matter. This thickness increases by stacking modules forms with the repeatedly stretched canvas silkscreen. One type of hand print not used to create a print run, but for the effect of footprint, and trace thickness, continuously changing the position and color. The colors in the thinner (mineral spirits and nitro) stir the glue with water which was made the initial collage, and paper surfaces come off, even taking away the layers of material polychromatic. Before removing the papers laden with layers of color carry the imprint of the initial design and resume the contours of the last traces of color belonging imagine. So come my gaps lack pulling out the initial design of the architecture of the painting. Caulking with plaster of Bologna and rabbit glue, scartavetrando, using a scalpel, ristuccando and isolating the Vernì and ox gall, restore the surface-mount hatch. With the help of the last cast delimited fields in the color of the last layer which in turn becomes imagine the previous image that is built according to the new formal choice. Proceeds from the hatch on the white surfaces by breaking down the color choices such as pointillism. This creates an impression of focus through the precious processing to hatch in watercolor. The ritual of my work is an experiment. Not an experiment that stops itself in its formal expression, but that becomes a means to find the time. This research tends to broaden the temporal space of my work, in contradiction with the concept of a work of fine art. I believe that art is a product of the spirituality of the human being and, as he exists, his spirit continually find new ways to express his need for invention.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:78.7 W x 20.9 H x 0.8 D in

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