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THE TREE OVERSEAS / L’ALBERO OLTREMARE / L'ARBRE À L'ÉTRANGER Painting

Sergio Mario Illuminato

Italy

Painting, Acrylic on Canvas

Size: 27.6 W x 39.4 H x 0.8 D in

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About The Artwork

The fluid of living energy that emerges irregularly from the cracks in the bark moves from land to sea and then beyond knowledge. The centrality of tension towards overseas, a place that does not exist. Nature, Man and the Universe also participate in the essence of everything that any direction takes sooner or later turns to overseas. Il fluido d’energia viva che emerge irregolare dalle fessure della corteccia si muove dalla terra al mare e poi più in là della conoscenza. La centralità della tensione verso l’oltremare, un luogo che non esiste. La Natura, l'Uomo e l’Universo partecipano parimenti all'essenza del tutto che qualsiasi direzione prenda prima o poi gira verso oltremare. Le fluide d'énergie vivante qui émerge irrégulièrement des fissures de l'écorce se déplace de la terre à la mer, puis au-delà de la connaissance. La centralité des tensions vers l'étranger, un lieu qui n'existe pas. La nature, l'homme et l'univers participent également à l'essence de tout ce que toute direction prend tôt ou tard à l'étranger.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:27.6 W x 39.4 H x 0.8 D in

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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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