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Sculpture, Metal on Iron
Size: 35.4 W x 35.4 H x 15.7 D in
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The work presents itself as a window equipped with a grating that prevents it from being crossed in both directions just like those typical of prisons or places of confinement. Its title "Aviary" gives us a clue: the aviary is a space where birds imprisoned inside a large cage are allowed to live and fly, allowing them to remain in their natural environment but granting them a minimal portion of it. Thus Galgani's "golems" tell of us humans who often fly within the boundaries we have built for ourselves, precluding new horizons to cross. But in some of us the dream, the imagination, the hope, the faith in an idea to support, materialize and defend allows us to cross those bars and open up new and better spaces in which to live. Those little clouds tell us that this possibility is in each of us
2010
Metal on Iron
One-of-a-kind Artwork
35.4 W x 35.4 H x 15.7 D in
Not applicable
No
Ships in a Crate
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Italy.
Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.
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For Giulio Galgani contemporary people live in a dimension where a myriad of signs and symbols overlap and painting can only reflect this reality. The dimension in which the works lead us is that of an artist who bears witness to our era, in which in his multimedia existence roams through video, theatre, music, and performances, though painting currently has a predominant role. His painting has been called "primordial, emotional, informal, a synthesis between figurative and abstract, material" and has been compared variously to Basquiat, Mirò, Klee, Burri, Kandinsky, the comic phrasing of Topor, the graphics of his American friend the graffiti artist Toxic. But the references to artists and techniques are obvious in an artist trained in the awareness of the genesis and developments of contemporary art, whose contamination is the key to cultural growth. With Galgani, art as a dimension of the present comes back into play, for stylistic substance, wealth of contents and ever metamorphosing forms, in a realm dominated by Golems. Per Giulio Galgani l’uomo contemporaneo vive in una dimensione in cui si sovrappongono una miriade di segni e simboli e la pittura non può che rispecchiare questa realtà. La dimensione in cui le opere ci accompagnano è quella di un artista testimone del nostro tempo che, nel suo essere multimediale, spazia tra video, teatro, musica, e performances, anche se attualmente la pittura ha un ruolo predominante. La sua pittura è stata definita “primordiale, emozionale, informale, sintesi tra figurativo e astratto, materica” e diversi accostamenti a Basquiat, Mirò, Klee, Burri, Kandinsky, ai fraseggi fumettistici di Topor, alla grafica dell’amico cartista Americano Toxic. Ma i riferimenti ad artisti e tecniche, sono ovvi in un artista formatosi nella consapevolezza della genesi e degli sviluppi dell’arte contemporanea, di cui la contaminazione è cifra di crescita culturale. Con Galgani l’arte come dimensione del presente ritorna a essere in gioco, per spessore stilistico, ricchezza di contenuti e forme in continua metamorfosi in uno scenario dominato dei Golem.
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