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Mutabile il giorno - Tales of the 7 Deadly Sins Painting

Nini Yūrei Ferrara

Italy

Painting, Oil on Canvas

Size: 47.2 W x 27.6 H x 0.7 D in

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About The Artwork

This is the seventh painting in a collection of eight paintings inspired by the seven deadly sins. "MUTABILE IL GIORNO" is the image of sloth. A woman lying in a fantastic setting, at sunset. She is lying next to two closed windows. A larger one, which seems to be aimed at the rest of the world; a smaller one, superimposed on the first, equally closed, facing itself. As if that second window protected her, or allowed her to isolate herself from the rest around her. But to isolate oneself from the other is to isolate oneself from oneself. But in that void, made of laziness and indolence, one risks falling without the possibility of re-emerging. As if it were death in life. The collection of which the painting is part is called "DELLA LIBERTÁ" and was exhibited in Caltanissetta in the exhibition "CORRISPONDENZE IMMATERIALI"" from 2023, September 23 to 2023, October 14. sloth

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:47.2 W x 27.6 H x 0.7 D in

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From my website: Yurei is the name chosen to sign my works of Figurative Art. I don’t perceive it as a coincidence, even if everything in my life first appeared in a game shape . “Just for fun” was also my approach to painting: a long period of convalescence, longing for “something in common” with the one beside me, the curiosity to try my hand at a language that had always fascinated but at the same time scared me; the inability to tell using the brushes, and the colors – I have always been in love with black and white -, and the strokes on the paper, the things that pressed inside me and needed to come out. Even more at that time, because they were days in which I was strongly experiencing the after-effects of a hospitalization that showed its unespected disabling profile. On my birthday I gifted myself a small set of watercolors, the cheapest of the brushes, a pad of paper. Nothing more to find again that “inner child” who took me by the arm along my exepriences with Theater, Writing, Photography, and which I was slowly returning to caress. I began to recover. Watercolours, brushes, paper; they all became crutches. The days were no longer “infinite”. I started walking again. No destination. But I was walking. And as life sensed the rustle of footsteps, the slow pace of walking, the adagio on the ground, revealed unknown obstacles and let them appear before my tracing a path. They lead me. I started looking through a new gaze and I touched the essentiality within which I put back together pieces of my days , thrown away randomly by that something “unexpected” that forced me like laces on the wrists, arms, feet, in a huge sea without shore: my dearest ones, my being what I love, my art. “art” that slowly moved towards its noblest, most ancient meaning again: the art of the farrier, the carpenter, the accountant, the comedian, the painter. Craft. I had no “shop” where to train. The stage only. And my Masters. Without ever telling me anything. But in their silence and in my gaze, they conveyed a being Theater that I found every day among uncertain brushstrokes and invented colors, curiosity, a never-sated “depth”, a desire to make mistakes always in a different way. The need to say, beside. The “inner child”. A man who tells stories by profession and has a neverending curiosity as a tool. Thus, Yurei was born. And I keep travelling, cuz each new day, is not over yet.

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