VHB 26 F - atomic consequence (2023) 雕塑 由 S C H A S C I A

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Riproduzione completamente manuale in Argilla di un classico carburatore Italiano. Il manufatto in Argilla morbida è impattato con il suolo da un'altezza di circa 1500 mm. la conseguenza è una deformazione per spiaccicamento del manufatto. Nonostante la sua deformazione il carburatore è stato cotto in forno industriale ad una temperatura intorno al [...]
Riproduzione completamente manuale in Argilla di un classico carburatore Italiano.
Il manufatto in Argilla morbida è impattato con il suolo da un'altezza di circa 1500 mm. la conseguenza è una deformazione per spiaccicamento del manufatto.
Nonostante la sua deformazione il carburatore è stato cotto in forno industriale ad una temperatura intorno al migliaio di gradi Celsius.

In the heart of the industrial silence that announces the end of functional morphologies, this sculpture, which only for an excess of irony we could continue to call "carburetor", presents itself as an object that rejects its own mechanical genesis, leaving us in front of an ontological hybrid: the fossil echo of an engine that has never needed to work.
Here, ceramic is no longer a medium but a solidified memory — not clay but residue, not modeled but imploded — and the plastic intervention seems to happen as if under symbolic compression: what was a cylinder becomes a constriction, what was a valve is now a dysfunctional excrescence, the discarded language of engineering.
Time is distorted: the deformation is not so much the result of a sculptural gesture as of an external, blind force, perhaps nuclear or conceptually entropic. The object speaks with the broken language of extinct machines, but it does so without any nostalgia. It is as if reality had tried to recompose itself after the catastrophe, failing with grotesque grace.
We sense an aesthetic of compressed ruin, almost a fossilized brutality that tells neither past nor future, but a perpetually recursive present: an eternal moment in which design implodes and becomes plastic trauma. The artist's gesture, apparently shapeless, is in reality a syntax of collapses: each fold tells of a necessary error, each distortion is a denied utopia.
The object does not expose itself, but imposes itself as a relic of an unrelated time — a carburetor that does not load, a symbol that does not symbolize, a fetish that has stopped believing in its own usefulness. It is post-industrial only because it was never pre-industrial. It is the simulacrum of the simulacrum, and in this short circuit lies its sculptural power.
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Schascia CarburatoreSchascia DisegnoSchascia Ceramica ArgillaSchascia DipintiSchascia Drawing Motorcycles

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Schascia 出生于 1976 年,居住在米兰,是一位多才多艺的艺术家,因其对绘画和雕塑的热情而脱颖而出。他自学成才,在不走传统学术路线的情况下探索艺术,形成了一种将对摩托车的热爱与艺术抽象相结合的独特风格。. 他的画作是对现代摩托车、老式车辆以及特殊摩托车和咖啡馆赛车等独特创作的颂歌。 Schascia 不仅通过他充满活力的画布捕捉了这些机器的机械美,还捕捉了它们的性格和精神。他对立体主义和抽象艺术的吸引力体现在他解构和重塑这些摩托车的方式,并从新的、迷人的角度展示它们。. [...]

Schascia 出生于 1976 年,居住在米兰,是一位多才多艺的艺术家,因其对绘画和雕塑的热情而脱颖而出。他自学成才,在不走传统学术路线的情况下探索艺术,形成了一种将对摩托车的热爱与艺术抽象相结合的独特风格。

他的画作是对现代摩托车、老式车辆以及特殊摩托车和咖啡馆赛车等独特创作的颂歌。 Schascia 不仅通过他充满活力的画布捕捉了这些机器的机械美,还捕捉了它们的性格和精神。他对立体主义和抽象艺术的吸引力体现在他解构和重塑这些摩托车的方式,并从新的、迷人的角度展示它们。

除了绘画作品外,Schascia 还热衷于雕塑,尤其是陶瓷摩托车零件的再创作。这种实践让他将自己对机械和艺术的热爱融为一体,诞生了兼具功能性和美学的创新雕塑。

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