"PASTA DI MANDORLE" Painting

1954, Vittoria (Ragusa). vive e lavora a Settimo Torinese (Torino).
Diplomato al Primo Liceo Artistico di Torino, ha frequentato l'Accademia Albertina di Torino. A partire dal 1996 inizia la sua attività espositiva partecipando a numerose mostre in Italia e all'estero, mentre esordisce con le prime personali dal 2002.
Finalista di importanti concorsi nazionali, nel 2008 si aggiudica il Premio di Pittura Arte Mondadori nella sezione Accademia con il ritratto "Mrs. GIANT". La sua ricerca pittorica è volta ad indagare la figura umana e in particolare il ritratto.

Painting is the symbol of "Techné" intended as the etymological meaning of the manual practice implicit in the original concept of art. In that concept, the mental process and the high field of the ideas' world to turn itself to a representation objectively available, has to be able to light up the external world in order to show us things in life in their right dimension and in their intelligible essence. It has also to be able to enlighten the beauty as well as the negativity of what surrounds us through the capacity of the artistic talent to point out things.
Painting has always been the house of all techniques and projects, the noble place where all artistic sensitive exhibitions take origin. Its nature allowed the art to go through all historical periods keeping always its expressive strength.
The artistic work of Giacomo Sampieri, characterized by the use of the pictorial instrument, finds its setting and its way of being in the present period, where it can offer originality though it uses traditional instruments as canvas and oil colours.
From its ancient vocation to the mimetic representation of the natural reality, painting has been able to change recently its body in order to tell the anxiety of a world in quick change with a big poetic capacity .
There are three different positions according the use of this technique: some people use it as a viaticum for a narration about stereotypes of our metropolitan everyday life to light up rents and framings of neglected corners of post modernity; some others want to demystify with irony the sparkling and ephemeral media icons that surrounds us; finally the last position is characterized by a rediscovering of the taste of a slow and calligraphically perfect manuality, by a "waste of time as loss of time" as John Ruskin said, and by a symbolic vein where reality vanishes in "another" dimension.