mediterraneo (2004) Ζωγραφική από Paola Bonavolontà

Πωλείται από το Paola Bonavolontà

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32,15 $
128,62 $
267,95 $
Μέγιστη ανάλυση: 155 x 195 px
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Πωλείται από το Paola Bonavolontà

Περιλαμβάνεται πιστοποιητικό γνησιότητας
  • Αυθεντικά έργα τέχνης Ζωγραφική,
  • Διαστάσεις Ύψος 19,7in, Πλάτος 15,8in
Σχετικά με αυτό το έργο τέχνης: Ταξινόμηση, Τεχνικές & Στυλ Technic Ζωγραφική Η ζωγραφική είναι μια μορφή τέχνης της ζωγραφικής[...]
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born in 67 in Naples, Italy from one family of artists, I begin very young to work with the clay and the colours. In 99 I moved to New York. My life is totally changed as my points of reference. There is nothing[...]

born in 67 in Naples, Italy from one family of artists, I begin very young to work with the clay and the colours. In 99 I moved to New York. My life is totally changed as my points of reference. There is nothing around me that I recognize, the roads, the neighbours, the rules not written, the role in company, all, just all is new. The bread, the money or the check with which I can also by a chewing gum pack, the doorman that opens me the door. Even my name that nobody succeeds to pronounce. An inner ferment, a volcano in boiling... I need to express it in a world that does not have need of translations, when the languages and the cultures are overlapped and they get confused within me. In Italy I'm the American and in America I'm the Italian. I feel my emotions running too fast and even if I succeeded to express them, here there's nobody that want to ear. In this culture everything has to be cool and perfect. Smiling, smiling, impede the difficulties show out, the confusion, the astonishment. The distance... the pain, or nostalgia of the colours of the sea and the sun of my earth. The emotions find space on the canvasses that remain dumb to listen to that I feel. I start recycling materials: where I worked they came throws via litres and litres of enamels (those for nails) of every colour. The idea therefore has been to find new uses , for them as for me, anticipatory metaphor of that I would have made also with my life. I used as supports spools for threads electrical workers, Plexiglas’s tubes, doors. After two years in USA, I come back to Rome, in my house with view on the Garbatella, without no regrets at least for that I see from the window. I'm going on experimenting new techniques, privileging the contact with the picture and in the picture. My paint-brushes are the hands and the fingers, my painting are intentionally kinaesthetic, visual and tactile. My feelings become signs, images to caress and to pick also through the tact. Emotion on canvass, shapes for emotion.

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