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Vespa 125 1951 - Frame
Vespa 125 1951-Detail 1
Dry pastels and recycled packaging cardboard are the materials at the base of my work on memory. In my many years of work on industrial archeology, there are the means of locomotion that have left a mark on the imagination of generations of the last century. The Vespa is certainly one of these.
Cardboard is not a mere support. Through a removal technique of the unpainted surface I lay bare the corrugated structure of the cardboard with a double effect: a particular almost three-dimensional perception of the work even when the incidence of light changes, and a decontextualization of the subject which makes it a sort of cataloged find, or new icon. 
The work is framed with a wooden frame glued inside the margins, is integral with each other with an axis on each corner to form 4 triangles and a crosswise orthogonal to the 4 axes, to achieve stability. The total depth is 4.5 cm
Dry pastels and recycled packaging cardboard are the materials at the base of my work on memory. In my many years of work on industrial archeology, there are the means of locomotion that have left a mark on the imagination of generations of the last century. The Vespa is certainly one of these.
Cardboard is not a mere support. Through a removal technique of the unpainted surface I lay bare the corrugated structure of the cardboard with a double effect: a particular almost three-dimensional perception of the work even when the incidence of light changes, and a decontextualization of the subject which makes it a sort of cataloged find, or new icon. 
The work is framed with a wooden frame glued inside the margins, is integral with each other with an axis on each corner to form 4 triangles and a crosswise orthogonal to the 4 axes, to achieve stability. The total depth is 4.5 cm
Vespa 125 1951-Detail 4
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Vespa 125 1951 Painting

Gianfranco Gentile

Italy

Painting, Pastel on Cardboard

Size: 35.4 W x 31.5 H x 1.8 D in

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Originally listed for $2,870
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About The Artwork

Dry pastels and recycled packaging cardboard are the materials at the base of my work on memory. In my many years of work on industrial archeology, there are the means of locomotion that have left a mark on the imagination of generations of the last century. The Vespa is certainly one of these. Cardboard is not a mere support. Through a removal technique of the unpainted surface I lay bare the corrugated structure of the cardboard with a double effect: a particular almost three-dimensional perception of the work even when the incidence of light changes, and a decontextualization of the subject which makes it a sort of cataloged find, or new icon. The work is framed with a wooden frame glued inside the margins, is integral with each other with an axis on each corner to form 4 triangles and a crosswise orthogonal to the 4 axes, to achieve stability. The total depth is 4.5 cm

Details & Dimensions

Painting:Pastel on Cardboard

Original:One-of-a-kind Artwork

Size:35.4 W x 31.5 H x 1.8 D in

Shipping & Returns

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

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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