VIEW IN MY ROOM
Italy
Painting, Oil on Canvas
Size: 31.5 W x 34.6 H x 0.8 D in
Ships in a Box
I painted this work in my 33 years. Whether you are a believer or not, 33 years is always the achievement of a goal in which you stop for a moment and look at what has been done and what there is still to be done. Perhaps a "Christ of today" would do the same, supposing that someone had given him a chance to get off that cross. He would be a young man like so many perfectly inserted into his reality, first of all geographical and then political and social. He would be a dark Palestinian with a dark complexion and black, frizzy hair, and with a kefiah on to use to shelter from the cold and to cover his head from the heat. I think he couldn’t help but think and rethink what he has done and what has been done in his name, tormented by doubts and some remorse. Around him this torment translates into atrocious images of butchery (physical and moral) painted with all possible shades of red, and almost fused with his shirt. And he hyenas all around to scratch like farmyard animals, by now perfectly penetrated in a landscape of despair and above all never satiated with human misery. This Christ of today would have so much to think about and do, but he could not be denied the precious moment to stop and smoke a cigarette in his Gethsemane.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:31.5 W x 34.6 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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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I was born in Tivoli (Rome) in 1977 and I graduated in Economics. Completely self-taught, I started painting in 2006, trying to make up for the lack of teaching with a strong ability to absorb all forms of art, which managed to give me a wealth of ideas and stimuli for an artistic journey that since beginning I had a problem of originality and chromatic and thematic power. My first works are inevitably marked by a strong naive imprint, where a natural predisposition for the use of warm and tropical colors, was accompanied by the prevalent representation of scenes of life of ethnic groups of the "Third World" (African and Latin American), who have signaled me as an artist of travel and escape; plausible and realistic journeys in the punctuality of details, but "salgariani" (by the Italian writer Emilio Salgari) given the immobility of my residence; and anyway, I think, effective in expressing a sort of disappointment for belonging to a "modern" world only on the surface, but decadent and arid in substance. Later, the theme of the journey progressively faded, while the colors and the materiality of the color spread on the surface were accentuated, diverting the main theme of my work towards an existentialism with psychedelic hues and shapes deformed by eruptions of color, which become the individual and collective magma of that part of contemporary society that does not accept the drift and decides to express the discomfort, but without giving up the message of "beauty" that art must always bring in every historical moment in which it is placed. Ultimately, I can say that I have discovered painting late, even if, I believe, the mechanisms concerning the creative path behind a simple work, and everything that concerns dedication with seriousness and self-denial, even outside the hours spent in front of it at an easel, they were already somehow rooted in me and waiting for an opportunity to be tested. In a few years I tried to burn the stages (or at least recover as much time as possible) visiting many museums and exhibitions and studying the History of Art, and with a humble sense of work and ability of imagination (implemented through a deep meditation on each technical and creative aspect) I tried to take possession of those manual, stylistic and intellectual means that could give my art "recognizability" without which an artist could not be called such.
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