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second work of the series. in this work the representation of the unconscious goes from being a sort of rock / iceberg to being the trunk of a kind of robot partly hidden by the colors of the background that at times overlook it. The robot represents the hardness of character that the artist has in certain situations but, as often happens, the hardness serves to mask hidden fragility that, however, like water, can flow away and reveal itself to the outside world. In this case the fragilities, in the form of liquid, come out of a drainage channel located at the height of the robot's heart. the work is made with aluminum sheets and water-based enamels
second work of the series. in this work the representation of the unconscious goes from being a sort of rock / iceberg to being the trunk of a kind of robot partly hidden by the colors of the background that at times overlook it. The robot represents the hardness of character that the artist has in certain situations but, as often happens, the hardness serves to mask hidden fragility that, however, like water, can flow away and reveal itself to the outside world. In this case the fragilities, in the form of liquid, come out of a drainage channel located at the height of the robot's heart. the work is made with aluminum sheets and water-based enamels
second work of the series. in this work the representation of the unconscious goes from being a sort of rock / iceberg to being the trunk of a kind of robot partly hidden by the colors of the background that at times overlook it. The robot represents the hardness of character that the artist has in certain situations but, as often happens, the hardness serves to mask hidden fragility that, however, like water, can flow away and reveal itself to the outside world. In this case the fragilities, in the form of liquid, come out of a drainage channel located at the height of the robot's heart. the work is made with aluminum sheets and water-based enamels
second work of the series. in this work the representation of the unconscious goes from being a sort of rock / iceberg to being the trunk of a kind of robot partly hidden by the colors of the background that at times overlook it. The robot represents the hardness of character that the artist has in certain situations but, as often happens, the hardness serves to mask hidden fragility that, however, like water, can flow away and reveal itself to the outside world. In this case the fragilities, in the form of liquid, come out of a drainage channel located at the height of the robot's heart. the work is made with aluminum sheets and water-based enamels

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Voices from unconscious n°2 Painting

Lele De Bonis

Italy

Painting, Metal on Aluminium

Size: 39.4 W x 55.1 H x 2 D in

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ABOUT THE ARTWORK

second work of the series. in this work the representation of the unconscious goes from being a sort of rock / iceberg to being the trunk of a kind of robot partly hidden by the colors of the background that at times overlook it. The robot represents the hardness of character that the artist has in certain situations but, as often happens, the hardness serves to mask hidden fragility that, however, like water, can flow away and reveal itself to the outside world. In this case the fragilities, in the form of liquid, come out of a drainage channel located at the height of the robot's heart. the work is made with aluminum sheets and water-based enamels

DETAILS AND DIMENSIONS
Painting:

Metal on Aluminium

Original:

One-of-a-kind Artwork

Size:

39.4 W x 55.1 H x 2 D in

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Born in 1980, Lele De Bonis lives and works as a set designer for several companies in the theater, cinema, amusement parks and outdoor scenography sectors. At the same time he has developed a personal artistic path focused on the concept of recovery and assembly, through which he represents what strikes him most in real life. The human being is the center of his works and he usually represents it in a cynical and grotesque key, without ever condemning it. Wood and aluminum are the materials he uses the most. Beyond the message, their constructive juxtaposition allows him to play and experience infinite alchemical relationships between hot and cold materials. Starting from the concept of “ready made”, through his assemblages, Lele is constantly searching for an aesthetic dialogue aimed at creating a material and chromatic balance between the different materials within a composition. His works are a continuous alternation between explicit references to the current historical context and a more abstract, introspective research.

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