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Via Rinarolo, 11/c, Tortona Alessandria, Italy

The fact is that they are very interested in understanding the genesis of a work of art. And if sometimes I put time and interest to try to reconstruct the various stages that gradually led her to the end, there is an underlying reason or a fleeting reason, it may also, in some cases, need full always linked, though, just to my work as a painter. But still bend the interest of my days, sometimes in this direction without a purpose, it can be said as a joke, for the sake of it, for the sake of covering any surface, clean, prefigured or indelibly printed, and change appearance. I am an artist, primarily a painter; are not, and I never wanted to be, neither a critical nor a historian. So I do not have constraints philological, roads drawn on what should be continued, professional obligations that stick to anyone, against this or that artist, universally acclaimed and historically recorded as untouchable, over a period or another; I would give tons and tons of painting on wood of centuries, all the same, no chills, and even more distant in time from any emotional involvement, whose vision nothing has ever caused, and still causes me, if not indifference, would give away, I said, without thinking twice, in exchange for a portrait by Ingres. Just like I would not hesitate to dispose of the Renaissance, except a few works, mostly portraits, maybe put it on a par with one of Bacon's paintings of the '50s or' 70s. Picasso would love to have Celestine and the Portrait of Vollard. Today, sixty years, I am more than ever convinced that some accommodation chronological counts for little or nothing. I do not understand a book browsing - following a story, a seemingly logical thread - one page after the other; I see it more understandable as a fall of leaves that a cold wind and insightful early autumn likes to move, flip, pile up and disperse all the time, nonstop. Not observe more time sectioned in hours, one after the other, in days, weeks equinox in solstice precede and follow other weeks. It all works of art, of whatever nature, of course, the ones that interest me, as I see them mixed with my hands in a block of clay-spherical brain, without a before and after, possibly without a of more or less, that, even within a narrow selection, may vary according to the moment. From this body of land and other, sinking his fingers into it, I take what I need, if necessary; unless, after using it, turn aside quickly these annoying, ultimately linked to a certain addiction and then to waste. Giorgione's Tempest In the lower part of the painting is not necessary for the effectiveness of the framework. So years ago I canceled. He was a country of larvae of empty houses, illuminated by a flash-lips, and the spectacle of nature with its cyclic, imperturbable way of life and death in a skull, a broken incisor, that everything contained. I added only the pupils of the eyes. But those, on closer inspection, there were already in the framework: the wheels under the arches of the building on the left was enough to move them. One full and decentralized, as the void-orbit shaft on the left side of the canvas, the other missing a quarter because the location of the skull was not perfectly front. It is difficult to say which images, conscious and unconscious, to pass through the mind of an artist in the making of a work. And certainly the time that was painted The storm did not circulate, the near future, reassuring astrological predictions, political, environmental, and private artist unwilling to ignore them. Feliscatus www.sicula.com info@11dreams.it 333 6033006 345 8906531

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from 2 to 16 November 2014



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