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The artist presents five unpublished works, realized with the most precise technique of the airbrush acrylic on canvas, of an impeccable formal cleanliness, and starts from the five platonic solids - the only regular polygons with edges and equivalent vertices that inscribed in a sphere all have its vertices on its surface - for an investigation that has its roots in the history of art and science. Cited by Plato in the Timaeus, studied by Piero della Francesca and Paolo Uccello, analyzed by Luca Pacioli and illustrated by Leonardo da Vinci, the five figures, symbol of the perfection of the universe, become with Abate the beating heart of the painting. They are possible figures yet out of reality, placed in an "ultrareal" oneiric unattainable by imperfect human nature. They are the place from which he flees or towards which the human figure is inexorably attracted. The close dialogue that is established between these two elements is all played on the concept of perfection as a possible goal and an abstract aspiration. The men and women in the center of the paintings share a cold perfection with solids. In fact, they were born within a totally artificial world (a sophisticated 3D software), without live models or any link with reality. The perfect realization of the epidermis and of the muscular bands, the silky yield of the hair and the surgical precision in the definition of every detail clash, however, with white and empty eyes, like those of classical statuary. Truth and artifice, therefore, life and the absence of life, possible and impossible, real and, indeed, "ultrareal", face each other here in a battle that takes the form of a fall, not only physical, but also metaphorical, often convulsive in twists of a mannerist taste. Almost as if these men and women were demigods, deceived to have access to the perfection of the "ultrareal", but eventually defeated, crushed by something indefinable that proved infinitely stronger than them. The impossible beauty of the figures of Giampiero Abate, after all, speaks to us a little about us: of our inability to accept ourselves as finite and mortal beings and of our mad aspiration to become demigods. Whose destiny, however, seems to be inexorably that of the fall.
The artist presents five unpublished works, realized with the most precise technique of the airbrush acrylic on canvas, of an impeccable formal cleanliness, and starts from the five platonic solids - the only regular polygons with edges and equivalent vertices that inscribed in a sphere all have its vertices on its surface - for an investigation that has its roots in the history of art and science. Cited by Plato in the Timaeus, studied by Piero della Francesca and Paolo Uccello, analyzed by Luca Pacioli and illustrated by Leonardo da Vinci, the five figures, symbol of the perfection of the universe, become with Abate the beating heart of the painting. They are possible figures yet out of reality, placed in an "ultrareal" oneiric unattainable by imperfect human nature. They are the place from which he flees or towards which the human figure is inexorably attracted. The close dialogue that is established between these two elements is all played on the concept of perfection as a possible goal and an abstract aspiration. The men and women in the center of the paintings share a cold perfection with solids. In fact, they were born within a totally artificial world (a sophisticated 3D software), without live models or any link with reality. The perfect realization of the epidermis and of the muscular bands, the silky yield of the hair and the surgical precision in the definition of every detail clash, however, with white and empty eyes, like those of classical statuary. Truth and artifice, therefore, life and the absence of life, possible and impossible, real and, indeed, "ultrareal", face each other here in a battle that takes the form of a fall, not only physical, but also metaphorical, often convulsive in twists of a mannerist taste. Almost as if these men and women were demigods, deceived to have access to the perfection of the "ultrareal", but eventually defeated, crushed by something indefinable that proved infinitely stronger than them. The impossible beauty of the figures of Giampiero Abate, after all, speaks to us a little about us: of our inability to accept ourselves as finite and mortal beings and of our mad aspiration to become demigods. Whose destiny, however, seems to be inexorably that of the fall.
The artist presents five unpublished works, realized with the most precise technique of the airbrush acrylic on canvas, of an impeccable formal cleanliness, and starts from the five platonic solids - the only regular polygons with edges and equivalent vertices that inscribed in a sphere all have its vertices on its surface - for an investigation that has its roots in the history of art and science. Cited by Plato in the Timaeus, studied by Piero della Francesca and Paolo Uccello, analyzed by Luca Pacioli and illustrated by Leonardo da Vinci, the five figures, symbol of the perfection of the universe, become with Abate the beating heart of the painting. They are possible figures yet out of reality, placed in an "ultrareal" oneiric unattainable by imperfect human nature. They are the place from which he flees or towards which the human figure is inexorably attracted. The close dialogue that is established between these two elements is all played on the concept of perfection as a possible goal and an abstract aspiration. The men and women in the center of the paintings share a cold perfection with solids. In fact, they were born within a totally artificial world (a sophisticated 3D software), without live models or any link with reality. The perfect realization of the epidermis and of the muscular bands, the silky yield of the hair and the surgical precision in the definition of every detail clash, however, with white and empty eyes, like those of classical statuary. Truth and artifice, therefore, life and the absence of life, possible and impossible, real and, indeed, "ultrareal", face each other here in a battle that takes the form of a fall, not only physical, but also metaphorical, often convulsive in twists of a mannerist taste. Almost as if these men and women were demigods, deceived to have access to the perfection of the "ultrareal", but eventually defeated, crushed by something indefinable that proved infinitely stronger than them. The impossible beauty of the figures of Giampiero Abate, after all, speaks to us a little about us: of our inability to accept ourselves as finite and mortal beings and of our mad aspiration to become demigods. Whose destiny, however, seems to be inexorably that of the fall.
The artist presents five unpublished works, realized with the most precise technique of the airbrush acrylic on canvas, of an impeccable formal cleanliness, and starts from the five platonic solids - the only regular polygons with edges and equivalent vertices that inscribed in a sphere all have its vertices on its surface - for an investigation that has its roots in the history of art and science. Cited by Plato in the Timaeus, studied by Piero della Francesca and Paolo Uccello, analyzed by Luca Pacioli and illustrated by Leonardo da Vinci, the five figures, symbol of the perfection of the universe, become with Abate the beating heart of the painting. They are possible figures yet out of reality, placed in an "ultrareal" oneiric unattainable by imperfect human nature. They are the place from which he flees or towards which the human figure is inexorably attracted. The close dialogue that is established between these two elements is all played on the concept of perfection as a possible goal and an abstract aspiration. The men and women in the center of the paintings share a cold perfection with solids. In fact, they were born within a totally artificial world (a sophisticated 3D software), without live models or any link with reality. The perfect realization of the epidermis and of the muscular bands, the silky yield of the hair and the surgical precision in the definition of every detail clash, however, with white and empty eyes, like those of classical statuary. Truth and artifice, therefore, life and the absence of life, possible and impossible, real and, indeed, "ultrareal", face each other here in a battle that takes the form of a fall, not only physical, but also metaphorical, often convulsive in twists of a mannerist taste. Almost as if these men and women were demigods, deceived to have access to the perfection of the "ultrareal", but eventually defeated, crushed by something indefinable that proved infinitely stronger than them. The impossible beauty of the figures of Giampiero Abate, after all, speaks to us a little about us: of our inability to accept ourselves as finite and mortal beings and of our mad aspiration to become demigods. Whose destiny, however, seems to be inexorably that of the fall.
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Dodecahedron Painting

Giampiero Abate

Italy

Painting, Airbrush on Canvas

Size: 39.4 W x 59.1 H x 2 D in

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About The Artwork

The artist presents five unpublished works, realized with the most precise technique of the airbrush acrylic on canvas, of an impeccable formal cleanliness, and starts from the five platonic solids - the only regular polygons with edges and equivalent vertices that inscribed in a sphere all have its vertices on its surface - for an investigation that has its roots in the history of art and science. Cited by Plato in the Timaeus, studied by Piero della Francesca and Paolo Uccello, analyzed by Luca Pacioli and illustrated by Leonardo da Vinci, the five figures, symbol of the perfection of the universe, become with Abate the beating heart of the painting. They are possible figures yet out of reality, placed in an "ultrareal" oneiric unattainable by imperfect human nature. They are the place from which he flees or towards which the human figure is inexorably attracted. The close dialogue that is established between these two elements is all played on the concept of perfection as a possible goal and an abstract aspiration. The men and women in the center of the paintings share a cold perfection with solids. In fact, they were born within a totally artificial world (a sophisticated 3D software), without live models or any link with reality. The perfect realization of the epidermis and of the muscular bands, the silky yield of the hair and the surgical precision in the definition of every detail clash, however, with white and empty eyes, like those of classical statuary. Truth and artifice, therefore, life and the absence of life, possible and impossible, real and, indeed, "ultrareal", face each other here in a battle that takes the form of a fall, not only physical, but also metaphorical, often convulsive in twists of a mannerist taste. Almost as if these men and women were demigods, deceived to have access to the perfection of the "ultrareal", but eventually defeated, crushed by something indefinable that proved infinitely stronger than them. The impossible beauty of the figures of Giampiero Abate, after all, speaks to us a little about us: of our inability to accept ourselves as finite and mortal beings and of our mad aspiration to become demigods. Whose destiny, however, seems to be inexorably that of the fall.

Details & Dimensions

Painting:Airbrush on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 59.1 H x 2 D in

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The use of 3D software to create "humanoid" subjects in realistic settings. This is the goal of my figurative artistic research: a contamination between the unreal and the natural in an Ultrareal world, which leads to the enrichment of the sensorial perception of painting. From Augmented Reality, to Video Render, from 3D printing with biological materials to Video Mapping. My investigation concerns the Ptolemaic position of humanity and how it is no longer sustainable that these, not feeling an integral part of Nature, do not respect it. My works recall my passions for physics, astronomy, philosophy and esotericism, to investigate the role of Man with the Universe and with Nature, to induce the awareness that it is necessary to change the position of man from "Ptolemaic" to "Copernican". Themes that are linked to the goals of the SDGs, the Green Deal and New European Bauhaus: a community, also extended to creatives, to propose ideas for politics for a respectful coexistence and development. It must be reflected that Natural Resources (water, land, forests, the atmosphere, etc.) are not to be used and destroyed, but, as for Relational Quantum Mechanics, are a series of relations to which one cannot regardless. Assigning the right Identity and value to Nature for a new balance with the human being, so that we can live together in harmony for the development of all, with respect for all. Here is the importance of open dialogue for a constructive diversity of views, without prejudice, with healthy comparisons to have a critical mind. From my first work "Charon, ferryman of souls", linked to the landings of immigrants in the Mediterranean, with the theme "Ultrareal" I began to investigate the role of Man in the Universe in dialogue with the Platonic Solids, and then continue with "Sabbie Immobili”and the inability to take positions and decisions, subjected to their own political and social inertia. Hence the thrust towards the theme of Nature, the search for human balance so as not to have to imagine a dystopian future. The research also focuses on the use of the work itself: in the 2019 Ultrareal exhibition, in fact, a new way of immersion through AR has created sensorial stimuli and reflection of the works, placing the viewer at the center of the scene (viewer-centered)

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