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Macchina da cucire per cuoio-frame
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Macchina da cucire per cuoio Painting

Gianfranco Gentile

Italy

Painting, Pastel on Cardboard

Size: 37 W x 37.4 H x 1.4 D in

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$3,000

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

The beauty of an artifact is the result of creative activity, of a loving process of doing, of technological knowledge, of the encounter between the functional objective and its architecture. The attention to detail, fruit of passion, refers to a technique perceived as "environment", to a "macro-app...

Year Created:

2013

Subject:
Medium:

Painting, Pastel on Cardboard

Rarity:

One-of-a-kind Artwork

Size:

37 W x 37.4 H x 1.4 D in

Ready to Hang:

Not Applicable

Frame:

Other

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Italy.

Customs:

Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.

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Need more information?

I was born in Verona, Italy, in 1949. I grew up in the cultural atmosphere of the '70s in Florence, where I graduated in Architecture. In that period I was also a musician and experimental performer. In the mid '80s I wrote songs and sang with my rock band in Verona, and worked as a scene, graphic and furniture designer. In 1997 my first exhibits in the art-world of painting.My most recent works, Industrial Archaeologies, divert the attention onto cultural products for survival: they are geological finds of a recent civilisation, the industrial one. These works, rigorously pastel painted, are totems, neglected mechanical parts abandoned to indifference. These objects, captured in their monumental plasticity are tragically present; they seem solid and impregnable mechanisms like ancient war machines. The support material is presented as fragile, recycled cardboard, as meagre as the oppressive isolation of the objects. And yet in this ambivalent scene of force and fragility is the harmonious result of the mix where the support is not only the place of evocation but becomes expressive material that transforms itself into light and colour.

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