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IMAGO (VENICE LAGOON) 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

The painting in Imago could evaporate in an instant. It assumes its function only and precisely thanks to its anamorphic property. A ripple, a fracture of detail, the distortion of light in the mirror is what makes the picture a picture for both the observer and the painter himself. The inner eye caught, captured, aspirated by the look and brought under sees what is missing in the field of representation to be itself. At the same time, as long as a glance is not reflected in something you cannot offer it a fabric, a dress, a form of colors and significant signs. This secret stumbling block of each of us in the work is the fragmented body of the picture that is compacted and radically subverts the coordinates of its meaning, of its no-form which however can never coincide with the observer, nor with the painter, with respect to which will always be at fault. In essence, a gap is produced at the level of the individual emotional body compared to the given image. The residues of waste released by the looks they have passed, however, arise retroactively - this is the decisive point - sediments of the pictorial function in its becoming. La pittura in Imago potrebbe evaporare in un solo istante. Assume la sua funzione solo e proprio grazie alla sua proprietà anamorfica. Un’increspatura, una frattura del dettaglio, la distorsione della luce allo specchio è ciò che fa del quadro un quadro sia per l’osservatore che per lo stesso pittore. L’occhio interiore preso, catturato, aspirato dallo sguardo e portato nel quadro vede ciò che manca al campo visivo della raffigurazione per essere sé stesso. Al contempo, fino a quando uno sguardo non si specchia di qualcosa non gli si può offrire una stoffa, un abito, una forma di colori e di segni significanti. Quest’inciampo segreto di ciascuno di noi nell’opera è il corpo frammentato del quadro che si compatta e sovverte radicalmente le coordinate del suo significato, della sua non-forma che però non potrà mai coincidere con l’osservatore, né col pittore, rispetto ai quali sarà sempre in difetto. In sostanza si produce uno scarto a livello di corpo emotivo individuale rispetto all’immagine data. I residui di scarti rilasciati dagli sguardi che hanno transitato fanno sorgere, però, in modo retroattivo - è questo il punto decisivo – sedimenti della funzione pittorica nel suo divenire. La peinture dans Imago pourrait s'évaporer en un instant. Il assume sa fonction uniquement et précisément grâce à sa propriété anamorphique. Une ondulation, une fracture du détail, la distorsion de la lumière dans le miroir est ce qui fait de l'image une image à la fois pour l'observateur et pour le peintre lui-même. L'œil intérieur pris, capté, inhalé par le regard et amené dans l'image voit ce qui manque au champ visuel de la représentation pour être lui-même. Dans le même temps, tant qu'un regard ne se reflète pas dans quelque chose, vous ne pouvez pas lui offrir un tissu, une robe, une forme de couleurs et des signes significatifs. Cette pierre d'achoppement secrète de chacun de nous dans l'œuvre est le corps fragmenté de l'image qui est compactée et subvertit radicalement les coordonnées de sa signification, de sa no-forme qui ne peut cependant jamais coïncider avec l'observateur, ni avec le peintre, par rapport auquel sera toujours en faute. Essentiellement, un écart est produit au niveau du corps émotionnel individuel par rapport à l'image donnée. Les résidus de déchets libérés par les regards qu'ils ont passés, cependant, surgissent rétroactivement - c'est le point décisif - les sédiments de la fonction picturale.

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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