sea 043 (2012) Pittura da Laura Federici

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Venduto da Laura Federici

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32,29 USD
129,16 USD
269,08 USD
Risoluzione massima: 2720 x 1356 px
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Venduto da Laura Federici

  • Opera d'arte originale (One Of A Kind) Pittura, Olio su Legno
  • Dimensioni Altezza 27,6in, Larghezza 55,1in
  • Incorniciatura Questa opera d'arte non è incorniciata
  • Categorie Quadri sotto i 20.000 USD Espressionismo
Standing, on the seashore, I capture the movements of those who play with the waves, the kids mainly, the families. Recording short video that I look later, descomposing into frames, printing and recomposing to create a continuous flow. The story of that time, a day by the sea. [...]
Standing, on the seashore, I capture the movements of those who play with the waves,
the kids mainly, the families. Recording short video that I look later, descomposing into frames, printing and recomposing to create a continuous flow. The story of that time, a day by the sea.

Temi correlati

SeaSeasideWavesBeachKids

Seguire
Laura Federici was born in Rieti in 1964. She is graduated in Architecture. She lives and works in Rome. However,[...]

Laura Federici was born in Rieti in 1964. She is graduated in Architecture. She lives and works in Rome. However, she traveled often to Syria, where she participated in exhibitions andworkshops held in Damascus and Aleppo. In 1999 she created 12 animated sequences for the film "Un Amore"; by Gianluca Tavarelli, which won the Nice- New York-San Francisco Film Festival.

She has exhibited widely internationally, and recently, at the Macro Museum of Rome and in Vietnam with her new project "Mekong's Diary".

"Laura Federici's body of work debates the reality of urban lives and the relations which connect us to the environment showing how space affects our memories, creating a new language of forms and colours. Federici's blissful canvases draw the viewer in whether they depict the elevated highway running through Rome or the courtyards of the mosques in Damascus, effectively gripping our minds. Objects shown in detail or close-ups become anchors to hold on to, lest we get caught in contemporary ‘mobility’ and fall ill with disorientation. They are rafts to get on to, when the fluidity of things make us all strangers, with no space to occupy.”  (from an article by art critic Arianna di Genova).

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